johnbyrnedraws:

Sensational She-Hulk #1, page 29 by John Byrne & Bob Wiacek & Glynis Wein. 1989.

dirtyriver:

alexsegura:

Happy belated birthday to Sal Buscema, who has drawn every character under the sun, but will always be the definitive Spider-Man artist of my youth - merging the style and vibe of John Romita with a modern, gritty sensibility. I loved his run with J.M. DeMatteis - one of the best superhero arcs ever, loaded with history anddark, psychological suspense mixed in with classic superheroics.

A great run, that made me reevaluate his earlier work. When I was a kid I felt he always compared unfavorably with his brother (and to be fair all artists compared unfavorably with Big John at the time), but after his collaboration with Walt Simonson on Thor it was like he finally shook free of his brother’s shadow, and his new approach to storytelling was a perfect fit for the story DeMatteis was telling.

ninavandeweghe:

TMH edition #5, (47th street) 

comicartistevolution:

comicartistevolution:

July, 1965: In the Amazing Spider-Man letters column, Fanboy Steve Gerber suggests that Patsy Walker and Millie the Model join the “Marvel Universe”

October, 1965: Fantastic Four Annual #3: Patsy is shown outside Reed and Sue’s wedding (as frenemy Hedy spots Millie the model off-panel).

---

That said, we’d have to wait until 1978 to see Patsy mix it up with Spidey as the two wrestled the Cosmic Cube away from Thanos.

I also love that Kurt Busiek and Alex Ross thought enough of Patsy’s inclusion into the Marvel Universe that they included it in their amazing Marvels miniseries.

comicartistevolution:

Civil War III

goodnight-sleepwell:

I can’t help it, pink is my favourite colour!

Open call for the annual Zine Happening in Gent. Send your application today!

go-faq-yourself:

Pink Donkey, #redrawingstoriesfromthepast part 2. out in March @kushkomikss

#giornatadellamemoria #tagdesgedenkensandieopferdesnationalsozialismus #nationalsozialismus #InternationalHolocaustRemembranceDay #comic #holocaust
https://www.instagram.com/p/BtL2tBHBgC6/?utm_source=ig_tumblr_share&igshid=1hlhi3p3u1kmg

chrjshemsworth:

every single STAN LEE cameo in the marvel cinematic universe (MCU)

ndscottsummers:

Classic X-Men #17

browsethestacks:

Marie Severin Hard At Work

nevver:

Good to the last drop, Moebius for Maxwell House coffee

travisellisor:

page 1 from Tales Of Suspense (1959) #31 by Jack Kirby, Dick Ayers, Stan Lee, Larry Lieber and Ray Holloway

tompalmerillustration:

Doctor Strange #14, page 1. Marvel Comics, 1976. Pencils by Gene Colan. Inks by Tom Palmer.

rocket-prose:

Some original David Mazzucchelli pages from his incredible “Born Again” storyline in Daredevil, with writer Frank Miller.

browsethestacks:

Joe Sinnott, Neal Adams And Al Williamson (1969)

seanhowe:

Letter from Stan Lee to Jack Kirby, January 25, 1977:

“Dear Jack,

Just a line to tell you how much I enjoyed seeing you in Los Angeles—and I am sure Jim did, too.

I am sorry we didn’t have more time to spend together, but at least we did have a chance to talk awhile.

I hope everything we discussed is clear and agreeable with you and that all will work out well. Keep rolling along on the SURFER—it is bound to be the “All the President’s Men” of 1977!

With all best wishes to you, Roz, and the family.

Cordially,

Stan

the-insidious-dr-grey-matter:

In the 1960s, director/UC Santa Cruz staffer Sheldon Feldner wrote to Marvel Comics asking if an artist would be willing to draft costumes for the University of California’s production of William Shakespeare’s Julius Caesar. Jack Kirby happily obliged, and they’re pure Kirby.

The costumes were made out of military surplus, plastic, and vinyl.

seanhowe:

Walter Simonson breakdowns and finished art for the X-Men/New Teen Titans comic, 1982. Inks by Terry Austin; Colors by Glynis Wein; Words by Chris Claremont; Lettering by Tom Orzechowski.

The New Teen Titans was deemed “DC’s X-Men” for the way that it, too, dusted off adolescent characters from the 1960s, paired them with new members from faraway lands, and mined the cultural conflicts for melodrama—but it was also an undeniably well-done comic, and the first threat in a while to Marvel’s hype monopoly.