Michael Golden. He is a comic book artist and commercial artist best known for his late 1970s work on Marvel Comics' The Micronauts. He also drew a number of Marvel Comics series throughout the 1970s and 1980s, including Doctor Strange, She-Hulk and The 'Nam.

Art gallery : http://www.comicartcommunity.com/gallery/categories.php?cat_id=58

Selected works :

• Avengers Annual 10
• Batman #295, 303 ; Batman Special 1
• Batman Family #15-20
• Bucky O'Hare #1-5
• Doctor Strange #46, 55
• Howard the Duck Magazine #6
• Marvel Fanfare #1-4, 47
• Micronauts #1-12
• The 'Nam #1-13
• Spartan X #1-6

Don Heck, born January 2, 1929 and died on February 23, 1995. He was an American comic-book artist best known for co-creating the Marvel Comics character Iron Man, and for his long run penciling the super-hero team series, The Avengers, during the 1960s.
Born in the Jamaica neighborhood of Queens, New York, Don Heck learned art through correspondence courses as well as at Woodrow Wilson Vocational High School in Jamaica and at Brooklyn Community College. He continued with an impromptu education in 1949 when a college friend recommended him for a job at Harvey Comics, repurposing newspaper comic-strip photostats into comic-book form - including the work of his idol, famed cartoonist Milton Caniff, whose art Don Heck's would later resemble. Don Heck left Harvey Comics after a year, and after taking his art samples to comic-book companies chosen at random, he landed freelance assignments for Quality Comics, Hillman Comics and Toby Press. Don Heck's first known credited work is on the horror comics Weird Terror, Horrific, Terrific, and Danger, and the violent western series Death Valley, for publisher Comic Media beginning in 1952. Publisher Allen Hardy was a former co-worker at Harvey Comics. For publisher U.S. Pictorial (circa 1955), he drew the one-shot Captain Gallant of the Foreign Legion, a TV tie-in comic, possibly a Heinz giveaway, based on the 1955-1957 syndicated, live-action kids' show of that name.
Through his colleague Pete Morisi, Don Heck met Stan Lee, editor-in-chief and art director of Timely Comics, and subsequently Atlas Comics, the 2 forerunners of Marvel Comics. Don Heck became an Atlas Comics' staff artist on September 1, 1954 : his first known work for the company was the 6-page Korean War story « The Commies Attack ! » in Battlefront #29 (in March 1955). He as well drew westerns, crime fiction, horror, and jungle stories. During a 1957 business retrenchment, when Atlas Comics let go of most of its staff and freelancers, Don Heck worked for 18 months designing model airplanes. Atlas Comics began revamping in late 1958 with the arrival of artist Jack Kirby, a comics legend whose career was also in need of revamping, and who threw himself into the anthological science-fiction, supernatural mystery, and giant-monster stories of what would become known as « pre super-hero Marvel ». Don Heck returned alongside other soon-to-be-famous names of Marvel Comics' 1960s emergence as a pop culture phenomenon, making his first splash with the cover of Tales of Suspense #1 (in January 1959), one of the very few of that time not drawn by Jack Kirby.
In the years immediately preceding the arrival of the Fantastic Four, Spider-Man and the other popular heroes of Marvel Comics' ascendancy, Don Heck gave atmospheric rendering to numerous science-fiction, jungle / prison-escape stories and other genres, Strange Tales and Tales to Astonish, to name 2 of the many pre super-hero comics for which he drew ; others included Strange Worlds, World of Fantasy and Journey into Mystery. Many of these stories were reprinted during the 1960s and 1970s. Don Heck, who was known for drawing beautiful women, also contributed to such Atlas / Marvel Comics romance comics as Love Romances and My Own Romance.
Iron Man premiered in Tales of Suspense #39 (in March 1963) as a collaboration among editor and story-plotter Stan Lee, scripter Larry Lieber, story-artist Don Heck, and Jack Kirby who provided the cover pencils and designed the first Iron Man armor. Jack Kirby « designed the costume », Don Heck recalled, « because he was doing the cover. The covers were always done first. But I created the look of the characters, like Tony Stark and his secretary Pepper Potts. ». Don Heck presided over the first appearance of Hawkeye, Marvel Comics' archer supreme, in Tales of Suspense #57 (in September 1964), and femme fatale Communist spy and future super-heroine and S.H.I.E.L.D. agent, the Black Widow in Tales of Suspense #52 (in April 1964). He drew the feature through issue #46, after which Spider-Man artist Steve Ditko introduced the familiar red and gold Iron Man armor and drew the feature for 3 issues. He returned with #50 - which introduced Iron Man's arch-foe, the Mandarin - and continued through #72.
Concurrent with drawing Iron Man, Don Heck succeeded Jack Kirby as penciler on The Avengers with issue #9 (in October 1964), the introduction of Wonder Man. He inked his own pencils for many years. However, when struggling to adjust to the « Marvel Comics method » of doing comics, and Marvel Comics' explosion of super-hero titles, he was assigned the help of an inker for the first time. He successfully made this adjustment, and went on to be one of the most remembered artists of Marvel Comics' The Avengers in the mid 1960s. Eventually, he returned to inking his own work in The Avengers #32-37.
Don Heck continued to be active in comics in later years, drawing Justice League of America, The Flash, Wonder Woman and other series for DC Comics. He also penciled 3 issues of H.P. Lovecraft's Cthulhu for Millennium Publications.
He died of lung cancer.

Adam Hughes, born May 5, 1967 in Riverside, New Jersey. He was mostly self-taught and started his career at the age of 19. In 1987, he penciled 2 short stories and the first issue of the character Death Hawk, created by Mark Ellis. In 1988, Adam Hughes' work appeared in Comico's Maze Agency with co-creator / writer Mike W. Barr, and stayed on the book for one year. When Maze Agency was canceled by Comico, DC Comics offered him a job on Justice League of America. He did both covers and internal renditions on that series for 2 years, before switching to providing covers only.
He was one of the original members of Atlanta's Gaijin Studios, his tenure lasting from 1991 until 2005. Adam Hughes then had a short stint at Dark Horse Comics, spent working on Ghost. This series was an important run for him ; this is where he started adjusting his technique, using an art nouveau influence along with Adobe Photoshop in his work. He has also had stints on Penthouse Comix, Legionnaires and PlayStation Magazine.
In 1998, he began a successful 4-year run as cover artist on DC Comics' Wonder Woman, which brought him critical acclaim. He had successful runs on Tomb Raider from Top Cow Comics, and wrote and illustrated the interiors of the 2-issue mini-series, Gen13: Ordinary Heroes from Wildstorm Entertainment.

Official site : http://www.justsayah.com
Art gallery : http://www.adamhughesart.com
Art gallery : http://www.comicartcommunity.com/gallery/categories.php?cat_id=116

Selected works :

• Maze Agency #1-5, 8-9, 12, Annual 1
• Justice League of America #31-35, 37-40, 43-45, 51
• Penthouse Comix #1-5
• Ghost #1-3
• Gen13: Ordinary Heroes #1-2
• WildC.A.T.s / X-Men: The Modern Age

Carmine Infantino, born May 24, 1925 in Brooklyn, New York City. He attended Public Schools 75 and 85 in Brooklyn before going on to the School of Industrial Art (later the High School of Art and Design) in Manhattan. During his freshman year of high school, Carmine Infantino began working for Harry « A » Chesler, whose studio was one of a handful of comic-book « packagers » who created complete comics for publishers looking to enter the emerging field in the Golden Age. With Frank Giacoia penciling, Carmine Infantino inked the feature « Jack Frost » in U.S.A. Comics #3 (in January 1942). He wrote in his autobiography that :

« (...) Frank Giacoia and I were in constant contact. One day in 1940, we decided to go up to Timely Comics, which later became Marvel Comics, to see if we could get some work. They gave us a script called 'Jack Frost' and that story became our first published work. Frank Giacoia did the pencils and I did the inking. Joe Simon was the editor and he offered us both a staff job. Frank Giacoia quit school and took the job. I wanted desperately to quit school and I told my father that it was a great opportunity. He said, 'No way! You're gonna finish school.'. Things were very bad, he was desperate for money, but he wouldn't let me quit school. He said, 'School comes first. If you're that good, the job will be there later.'. I can't love the man enough for that. So Frank Giacoia took the job and I didn't. I was 15 or 16 and I just kept making my rounds in the early 1940s, looking for freelance work while continuing my studies. ».

Selected works :

• Action Comics #419, 642
• Adventure Comics #399, 479-485, 487-490
• Best of DC #18
• Brave and the Bold #67, 72, 172, 183, 190, 194
• Captain America #245
• Daredevil #149-150, 152
• DC Comics Presents #73
• Detective Comics #327, 329, 331, 333, 335, 337, 339, 341, 343, 345, 347, 349, 351, 353, 355, 357, 359, 361, 363, 366-367, 369
• The Flash #105-174, 296-350
• Iron Man #122
• Marvel Team-Up #92-93, 97
• Nova #15-20, 22-25
• Phantom Stranger #1-3, 5-6
• Savage Sword of Conan #34
• Secret Origins vol. 2 #17, 40, Annual 2
• Showcase #4, 8, 13-14
• Spider-Woman #1-19
• Strange Adventures #205
• Supergirl vol. 2 #1-20, 22-23
• Superman #376, 404
• Superman meets Quik Bunny
• Teen Titans #27, 30

Gil Kane | Eli Katz, born April 6, 1926 in Riga, Latvia and died on January 31, 2000 in Miami, Florida of complications from lymphoma. Gil Kane was born to a Jewish family that emigrated to the U.S.A. in 1929, settling in Brooklyn, New York City. When he was in junior high school, he collaborated on writing projects with Norman Podhoretz, later a prominent writer and editor. At the age of 16, while attending the School of Industrial Art (later named the High School of Art and Design), he began working in the comics studio system as an assistant, doing basic tasks such as drawing panel borders. During his 1942 summer vacation, Gil Kane obtained a job at M.L.J., working there for 3 weeks before being fired. As he recalled : « Within a couple of days, I got a job with Jack Binder's agency. Jack Binder had a loft on 5th Avenue and it just looked like an internment camp. There must have been 50 or 60 guys up there, all at drawing tables. You had to account for the paper that you took. ». He began penciling professionally there, but « They weren't terribly happy with what I was doing. But when I was re-hired by M.L.J. 3 weeks later, not only did they put me back into the production department and give me an increase, they gave me my first job, which was ' Inspector Bentley of Scotland Yard ' in Pep Comics, and then they gave me a whole issue of The Shield and Dusty, one of their leading books ». He soon dropped out of school to work full-time.
During the next several years, Gil Kane drew for about a dozen studios and publishers including Timely Comics, a predecessor of Marvel Comics, and learned from such prominent artists as Jack Kirby and Joe Simon. He interrupted his career briefly to enlist in the Army during World War II, where he served in the Pacific theater. In the post-war years, on his return to comics, he used pseudonyms including Pen Star and Gil Stack before settling on Gil Kane.
In the late 1950s, Gil Kane freelanced for DC Comics. There he contributed to seminal works in what fans and historians call the Silver Age of comics, when he illustrated a number of revitalized super-hero titles (loosely based on 1940s characters) - most notably Green Lantern, for which he penciled most of the first 75 issues, and also The Atom. He also drew the youthful super-hero team The Teen Titans, and in the late 1960s tackled such short-lived titles such Hawk and Dove and the licensed-character comic Captain Action, based on the action figure. He briefly freelanced some Hulk stories in Marvel Comics' Tales to Astonish, under the pseudonym Scott Edwards.
Due to financial setbacks at the time, Gil Kane began accepting as many art assignments as he could get, with the increasing result being that he did not have the time to fully complete each and every job, and often had to call in fellow artists to finish his rough pencil artwork. Eschewing the Scott Edwards pseudonym, Gil Kane freelanced in the 1960s for Tower Comics' T.H.U.N.D.E.R. Agents, a super-hero / espionage title, as well as the « Tiger Boy » strip for Harvey Comics. He then found a home at Marvel Comics, eventually becoming the regular penciler for The Amazing Spider-Man, succeeding John Romita Sr., in the early 1970s, and becoming the company's preeminent cover artist through that decade, a position which helped give him the financial stability he had been striving for. During that run, working with editor / writer Stan Lee, they produced in 1971 a landmark 3-issue story arc in The Amazing Spider-Man #96-98 that marked the first challenge to the industry self-regulating Comics Code Authority, since its inception in 1954. The Comics Code Authority forbade any mention of drugs, even in a negative context. However, Stan Lee and Gil Kane worked on a storyline that was originally conceived at the request of a government backed drug-prevention program, and when the storyline wasn't given the Comics Code Authority approval, Stan Lee went ahead and published the issues anyway, without the regular Comics Code Stamp at the top of the covers. The comics met with such critical acclaim and high sales that the industry's self-censorship was undercut, the Comics Code revamped. Another landmark in Gil Kane's Spider-Man run was « The Night Gwen Stacy died » tale in #121-122 (published in June and July 1973), in which Spider-Man's fiancée Gwen Stacy, as well as the long-time villain Green Goblin were killed, an unusual occurrence at the time.
With writer Roy Thomas, he helped revise the Marvel Comics version of Captain Marvel, as well as Adam Warlock. He also worked on the character Iron Fist and helped create Morbius the Living Vampire. Gil Kane remarked more than once in latter years that he regretted not having stayed on as the regular artist for Spider-Man or some other book for a longer period, so that he could have played more of a role in the creative development of characters, as he had at DC Comics with Green Lantern and The Atom.
Gil Kane's side projects include 2 long works that he conceived, plotted and illustrated, with scripting by Archie Goodwin : His Name is ... Savage (for Adventure House Press in 1968), a self-published, 40-page, magazine-format comics novel ; and Blackmark (in 1971), a science-fiction / sword-and-sorcery paperback published by Bantam Books. Some historians consider the latter, sold in bookstores and related outlets rather than newsstands, as arguably the first American graphic novel, a term not in general use at the time ; the back cover blurb of the 30th anniversary edition calls it, retroactively, « the very first American graphic novel ». Whether or not this is so, Blackmark is, objectively, a 119-page story of comic book art, with captions and word balloons, published in a traditional book format. It is also the first with an original heroic-adventure character, conceived expressly for this form.
Sometime in the late 1960s, Gil Kane temporarily acquired the publishing rights to Robert E. Howard's pulp magazine barbarian, Conan, with the intent of reviving the character in a magazine format, à la His Name is ... Savage. However, he was unable to gain financing for the project, and the rights reverted back to the Robert E. Howard estate. When Marvel Comics licensed the character in 1970, writer Roy Thomas initially considered having either Gil Kane or John Buscema draw the comic book, and he actively campaigned for the assignment, but editor Stan Lee nixed the idea on the grounds that it made no sense to have one of Marvel Comics' top artists tied up with what looked to be a risky project that quite possibly would not survive more than a few issues. Gil Kane did later do some art for the Conan comic book, which by then was one of Marvel Comics' biggest hits.
During the 1970s and 1980s, he did character designs for various Hanna-Barbera and Ruby-Spears animated TV series. In 1977, he created the newspaper comic strip Star Hawks with writer Ron Goulart. The daily strip was known for its experimental use of a 2-tier format during the first years. The strip ended in 1981. In 1989, Gil Kane illustrated a comic book adaptation of Richard Wagner's mythological opera epic, The Ring of the Nibelung. He remained active as an artist until his death. In the early 1980s, he shared regular art duties on Superman with Curt Swan, and also did the designs for the 1986 network Superman animated series.

Art gallery : http://www.comicartcommunity.com/gallery/categories.php?cat_id=83
Various covers : http://www.comicvine.com/gil-kane/26-1764/issues-cover
Classic covers : http://www.samcci.comics.org/_artists/kane.htm

Selected works :

• Action Comics #404, 408, 437, 443, 449, 535, 539-541, 544-549, 551-554, 580, 601-605, 627, 642, 715
• Amazing Spider-Man #89-92, 96-105, 120-124, 150, Annual 10, Annual 12, Annual 24
• Showcase #34-36 ; The Atom #1-37
• Captain America #145
• Captain Marvel #17-24
• Conan the Barbarian #12, 17-18, 127-134 ; Giant-Size Conan #1-5
• Daredevil #141, 146-148, 151
• Detective Comics #368-374, 384-385, 388-402, 404-408, 438-439, 520
• Giant-Size Super-Heroes #1
• Showcase #22-24 ; Green Lantern #1-75, 85, 87-88, 156, 177, 184
• Hawk and Dove #3-6
• House of Mystery #180, 184, 196, 253, 300
• House of Secrets #85
• Marvel Premiere #1-2, 15
• Marvel Team-Up #4-6, 13-14, 16-19, 23
• Marvel Two-in-One #1-2
• The Ring of the Nibelung #1-4
• Savage Sword of Conan #1-4, 8, 13, 47, 63-65, 67, 85-86
• Sword of the Atom #1-4
• T.H.U.N.D.E.R. Agents #1, 5, 14-16
• Tales of Suspense #88-91
• Tales to Astonish #76, 88-91
• Talos of the Wilderness Sea #1
• Teen Titans #19, 22-24, 39
• Warlock #1-5
• Weird Mystery Tales #10
• Werewolf by Night #11-12
• What If ? #3-4, 7, 24

Dale Keown, born 1962 in Grande Prairie, Alberta, Canada. He started working in comics in 1986 drawing several series for Aircel Comics, including Samurai, Elflord, DragonRing (later DragonForce) and Warlock 5. In 1989, Dale Keown moved to Marvel Comics, where he first worked on Nth Man: The Ultimate Ninja, before replacing Jeff Purves on the Incredible Hulk series.
Dale Keown worked on Hulk with writer Peter David, creating one of the most memorable runs of the book, until leaving it in 1993, to start publishing his self-created Pitt at Image Comics. In 1995, publication of Pitt was moved over to Full Bleed Studios. He gradually lost interest and began working for other companies once more, drawing The Darkness for Top Cow Productions and teaming up with Peter David once more with Incredible Hulk: The End for Marvel Comics. He also drew a crossover featuring The Darkness and the Hulk.
Dale Keown drew many of the pictures for the Hulk memorabilia that was released to coincide with the 2003 Hulk movie.

Official site : http://www.fullbleed.com

Selected works :

• Incredible Hulk #367, 369-377, 379, 381-388, 390-393, 395-398
• Incredible Hulk: The End
• Pitt ½ ; Pitt #1-20
• Hulk / Pitt

Jack « King » Kirby | Jacob Kurtzberg, born August 28, 1917 and died on February 6, 1994 of heart failure in his Thousand Oaks, California home. Widely recognized as one of the most influential, recognizable and prolific artists in comics, Jack Kirby was the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of the medium. Essentially self-taught, Jack Kirby cited among his influences the comic-strip artists Alex Raymond and Milton Caniff.
Per his own sometimes-unreliable memory, Jack Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic-strips and on single-panel advice cartoons such as Your Health comes First (under the pseudonym « Jack Curtiss »). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an « in-betweener », an artist who fills in the action between major-movement frames, on Popeye cartoons. « I went from Lincoln Newspaper Syndicate to Fleischer Studios », he recalled. « From Fleischer Studios, I had to get out in a hurry because I couldn't take that kind of thing », describing it as « a factory in a sense, like my father's factory. They were manufacturing pictures. ». Around that time, the first American comic books appeared. Initially consisting solely of reprints of newspaper comic-strips, these tabloid-size, 10x15 inches publications soon began to include original material in comic-strip form. Jack Kirby began writing and drawing for the comic book packager Will Eisner & Jerry Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Jack Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science-fiction adventure The Diary of Dr. Hayward (under the pseudonym « Curt Davis »), the Western crimefighter strip Wilton of the West (as « Fred Sande »), the swashbuckler strip « The Count of Monte Cristo » (again as « Jack Curtiss »), and the humor strips Abdul Jones (as « Ted Grey ») and Socko the Seadog (as « Teddy »), all variously for Jumbo Comics and other Eisner & Iger clients.
Jack Kirby moved on to comic book publisher and newspaper syndicator Fox Feature Syndicate. He began exploring super-hero narrative with the comic-strip The Blue Beetle (in January 1940). During this time, Jack Kirby met and began collaborating with cartoonist and Fox Feature Syndicate editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic Con International panel in San Diego, California, Joe Simon recounted the meeting :

« I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants ! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC Comics' and Fox Feature Syndicate's offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt ... »

« Everybody recognized Jack Kirby's contribution to comics generally and to Marvel Comics specifically, in the same way they recognize that God created the Heavens and the Earth ... It wasn't merely that Jack Kirby conceived most of the characters that are being done, but more than that - Jack Kirby's point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field ... In order to broaden the scope of their publishing, what they managed to do was to take Jack Kirby and use him as a primer. They Marvel Comics would get artists, regardless of whether they had done romance or anything else and they taught them the ABCs, which amounted to learning Jack Kirby. So, whether it was John Romita Sr., whether it was anyone who ultimately joined the company, Jack Kirby was used as the yardstick by which they could measure their own progress. Jack Kirby was like the Holy Scripture and they simply had to follow him without deviation. That's what was told to me ... It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view. ».

Official site : http://www.kirbymuseum.org
Chronology 1938-1949 : .../resources/kirby_chronology.html
Chronology 1950-1959 : .../resources/kirby_chronology1.html
Chronology 1960-1964 : .../resources/kirby_chronology2.html
Chronology 1965-1969 : .../resources/kirby_chronology3.html
Chronology 1970-1979 : .../resources/kirby_chronology4.html
Chronology 1980-1985 : .../resources/kirby_chronology5.html

Selected works :

• 1958-1960 : various issues of « pre super-hero Marvel Comics » science-fiction / fantasy stories in Amazing Adventures, Journey into Mystery, Strange Tales, Tales of Suspense, Tales to Astonish, Strange Worlds and World of Fantasy
• 1st Issue Special #1, 5-6
• 2001: A Space Odyssey #1-10
• Adventure Comics #250-256
• Amazing Adventures #1-6
• The Avengers #1-8, 14-16
• Black Panther #1-12
• Detective Comics #64-83, 85, 95, 110, 128, 134, 140, 150 ; Boy Commandos #1-6, 15, 17, 19, 21, 23-24, 29-33
• Captain America Comics #1-10
• Captain America #100-109, 112, 193-214, Annual 3-4
• Challengers of the Unknown #1-8
• The Demon #1-16
• Devil Dinosaur #1-9
• Eternals #1-19, Annual 1
• Fantastic Four #1-102, 108, 236, Annual 1-3, Special 4-9, King-Size 10
• Fighting American #1-7
• The Forever People #1-11
• Incredible Hulk #1-5
• Journey into Mystery #51-52, 54-82, 83-125, Annual 1 ; Thor #126-177, 179 ; Tales of Asgard
• Justice Traps the Guilty #1-10, 18-19
• Justice, Inc. #2-4
• Kamandi, the Last Boy on Earth #1-40
• Machine Man #1-9
• Mister Miracle #1-18
• New Gods #1-11 ; The Hunger Dogs
• Not Brand Echh #1, 3, 5-7, 10
• OMAC #1-8
• Our Fighting Forces #151-162
• Prize Comics #7-9, 63
• Rawhide Kid #17-32, 34, 84, 86, 92, 109, 111-112, 116, 125, 134-136, 141, Special 1
• Red Raven Comics #1
• The Sandman #1, 4-6
• Sgt. Fury and his Howling Commandos #1-7, 13
• Silver Surfer #18
• Sky Masters of the Space Force
• Strange Tales #67-70, 72-105, 108-109, 114, 120, 127, 135-153, Annual 1-2
• Superman's Pal Jimmy Olsen #133-139, 141-148
• Tales of Suspense #2-4, 6-35, 39-41, 43, 59-86, 92-99
• Tales to Astonish #1, 5-40, 44, 49-51, 68-84
• Uncanny X-Men #1-16, 67-69, Annual 1
• Weird Mystery Tales #1-3
• What If ? #11
• World's Finest Comics #6-13, 15, 21-22, 32, 38, 96-99, 142, 167, 187, 197, 226
• Young Romance Comics #1-47, 52-67, 80-92, 94-95, 97-99, 102-103

Joe Kubert, born September 18, 1926 in Yzeran, Poland. He emigrated to Brooklyn, New York City, at age 2 months with his parents and his 2-year old sister Ida. Raised in the East New York neighborhood, the son of a kosher butcher, Joe Kubert started drawing at an early age, encouraged by his parents. He attended Manhattan's High School of Music and Art. During this time, he and classmate Norman Maurer, a future collaborator, would sometimes skip school in order to see publishers. Joe Kubert began honing his craft at the quirkily named Harry « A » Chesler's studio, one of the comic-book « packagers » that had sprung up in the medium's early days to supply outsourced comics to publishers. Joe Kubert's first known professional job was penciling and inking the 6-page story « Black-Out », starring the character Volton, in Holyoke Publishing's Catman Comics #8 (in March 1942), also listed as Catman Comics vol. 2 #13. He would continuing drawing the feature for the next 3 issues, and was soon doing similar work for Fox Comics' Blue Beetle. Branching into additional art skills, he began coloring the Quality Comics reprints of future industry legend Will Eisner's The Spirit, a 7-page comics feature that ran as part of a newspaper Sunday supplement.
Joe Kubert's first work for DC Comics, where he would spend much of his career and produce some of his most notable art, was penciling and inking the 50-page « Seven Soldiers of Victory » super-hero team story in Leading Comics #8 (in Fall 1943), published by a DC Comics predecessor company, All-American Comics. Through the decade, Joe Kubert's art would also appear in comics from Fiction House and Harvey Comics, but he was otherwise worked exclusively for All-American Comics and DC Comics.
In the 1950s, he became managing editor of St. John Publications, where he, his old classmate Norman Maurer, and Norman's brother Leonard Maurer produced the first 3-D comic-books, starting with Three Dimension Comics #1 (in September 1953 for the oversize format, then October 1953 for a standard-size reprint), featuring Mighty Mouse. According to Joe Kubert, it sold a remarkable 1.2 million copies at 25¢ apiece at a time when comics cost a dime. At St. John Publications, writer Norman Maurer and artist Joe Kubert created the enduring character Tor, a prehistoric-human protagonist who debuted in the comic-book 1000000 years ago (in September 1953). Tor immediately went on to star in 3-D Comics #2-3, followed by a titular, traditionally 2-D comic-book series, written and drawn by Joe Kubert, that premiered with issue #3 (in May 1954). The character has gone on to appear in series from Eclipse Comics, Marvel Comics' Epic imprint, and DC Comics through at least the 1990s. Joe Kubert in the late 1950s unsuccessfully attempted to sell Tor as a newspaper comic-strip.
Beginning with Our Army at War #32 (in March 1955), Joe Kubert began to freelance again for DC Comics, in addition to Lev Gleason Publications and Atlas Comics, the 1950s iteration of Marvel Comics. By the end of the year, he was drawing for DC Comics exclusively, working on such characters as the medieval adventurer Viking Prince, the super-hero Hawkman, which would become one of his signature efforts and, in the war comic-book G.I. Combat, features starring Sgt. Rock and The Haunted Tank, 2 more signature strips.
From 1965 through 1967, he collaborated with author Robin Moore on the syndicated daily comic-strip, Tales of the Green Beret, for the Chicago Tribune. Joe Kubert served as DC Comics' director of publications from 1967 to 1976. During his tenure with DC Comics, he initiated titles based on such Edgar Rice Burroughs properties as Tarzan and Korak. He also supervised the production of the comic-books Sgt. Rock, Ragman and Weird Worlds. While performing supervisory duties, he continued to draw for some books, notably Tarzan from 1972 to 1975. Joe Kubert also did covers for Rima the Jungle Girl from 1974 to 1975. In 1976, Joe Kubert and his wife Muriel founded the Joe Kubert School of Cartoon and Graphic Art in Dover, New Jersey.

Jae Lee, born June 22, 1972 in South Korea. He has emigrated with his family to the United States of America at age 6. He attended art school, but left in 1990 to pursue a career at Marvel Comics.
Jae Lee first rose to prominence in the industry for his work on Marvel Comics' Namor the Sub-Mariner, The Inhumans and The Sentry, as well as his creator-owned character Hellshock at Image Comics. He is currently working on the Marvel Comics' spin-off of Stephen King's The Dark Tower novels, The Dark Tower: The Gunslinger Born, which is written by Robin Furth and Peter David.

Art gallery : http://www.members.tripod.com/jae_lee

Selected works :

• Marvel Comics Presents #85-92
• Namor the Sub-Mariner #26-38
• Uncanny X-Men #304, Annual 16
• X-Factor #84-86
• Youngblood: Strikefile #1-3
• WildC.A.T.s: Trilogy #1-3
• Spider-Man #41-43
• Hellshock #1-4 ; Hellshock #1-3 ; Hellshock: The Definitive Edition
• The Inhumans #1-12
• The Sentry #1-5 ; The Sentry vs. the Void #1
• Fantastic Four 1234 #1-4
• Captain America #10-16
• The Darkness: Prelude
• Witchblade: Demon
• Transformers / G.I. Joe #1-6
• Hulk & Thing: Hard Knocks #1-4
• Batman: Jekyll & Hyde #1-3
• Ultimate Fantastic Four #19-20, Annual 1
• Incredible Hulk #82
• Young Avengers Special 1
• Stephen King's The Dark Tower: The Gunslinger Born #1-7 ; The Dark Tower: The Long Road Home #1-5 ; The Dark Tower: Treachery #1-6

Jim Lee, born August 11, 1964 in Seoul, South Korea, but grew up in St. Louis, Missouri. Jim Lee's St. Louis Country Day School classmates predicted in his senior yearbook that he would found his own comic book company. But, initially, he seemed resigned to following his father's career in medicine. He attended Princeton University and majored in psychology with the intention of becoming a medical doctor. An elective course in Fine Arts re-awakened his love for drawing ; he graduated in 1986, putting medical school on hold to attempt a career in comic book illustration.
After inking only the cover of Samurai Santa #1 for a small, independent publisher, Jim Lee found success at Marvel Comics, as a penciler. According to a profile publishing in Punisher War Journal #1 (in November 1988), Jim Lee was introduced to editor / writer Carl Potts by Archie Goodwin in mid 1987, and « within 10 minutes, editor Carl Potts gave him an Alpha Flight story to draw. The rest, as they say, is history ». His early Marvel Comics work included Alpha Flight, Conan the Barbarian and Punisher War Journal.
In 1989, Jim Lee filled in for regular illustrator Marc Silvestri on Uncanny X-Men #248 and did another guest stint on #256-258 as part of the Acts of Vengeance storyline, eventually becoming the series' ongoing artist as of #267 when Marc Silvestri left. During his stint on Uncanny X-Men, he first worked with inker Scott Williams, who would become a long-time collaborator. Jim Lee's artwork quickly gained popularity in the eyes of enthusiastic fans, which allowed him to gain greater creative control of the franchise. In 1991, he helped launch a second X-Men series simply called X-Men, not only as the artist, but also as co-writer with long-time X-Men scribe Chris Claremont. He designed new uniforms for characters such as Cyclops, Jean Grey, Rogue, Psylocke and Storm, creating the images that an entire generation of X-Men readers would associate with the characters. He also co-created the once-popular character Omega Red with John Byrne. X-Men #1 still is the best-selling comic book of all-time with sales of 8 million copies of the first issue, although multiple purchases of variant covers illustrated by Jim Lee accounted for part of the sales frenzy. However, Jim Lee ran into some creative hurdles. Chris Claremont found it harder to work with him as their vision of the characters and storylines diverged. There was a prolonged power struggle over the future of the X-Men and in the end, Marvel Comics' X-Men editor Bob Harras favored the wildly popular Jim Lee, causing Chris Claremont to depart the new X-Men series with #3. Despite this, Chris Claremont and Jim Lee later reunited on various projects and are reportedly on friendly terms. They even engaged in a mutual interview for Wizard Magazine in 1995.
In 1992, Jim Lee was one of 7 artists who broke away from Marvel Comics to form Image Comics. His group of titles was christened Wildstorm Productions and published Jim Lee's WildC.A.T.s, which he penciled and co-wrote, and other series created by himself sharing the same « universe », but with a minor implication of the artist in his production. The other main series of the initial years of Wildstorm Productions, with characters created by Jim Lee and with a minor participation of the artist in his production were Stormwatch, Deathblow and Gen13. Like most Image Comics properties, these series were criticized for high levels of violence, sexual references and for emphasizing flashy art over storytelling. Despite such claims, Jim Lee's stable of titles sold well, often exceeding a million copies per month in the early going, charting new highs in sales from an independent publisher. He also participated in the crossover mini-series WildC.A.T.s / X-Men co-published between Marvel Comics and Image Comics.
As publisher, Jim Lee later also expanded his comics line creating 2 publishing imprints of Wildstorm Productions, Homage and Cliffhanger, to publish creator-owned comics by some selected creators of the U.S. comics industry. Initially, Homage was a more writer-driven imprint, debuting with Eisner Awards winners Strangers in Paradise and Kurt Busiek's Astro City. Cliffhanger was initially an artist-driven imprint, created to publish the works of 3 young « hot artists » of the time, J. Scott Campbell's Danger Girl, Joe Madureira's Battle Chasers and Humberto Ramos' Crimson.
He and Rob Liefeld, another Image Comics founder, returned to Marvel Comics in 1996 to participate in a reboot of several classic characters ; the project was known as « Heroes Reborn ». While Rob Liefeld reworked Captain America and The Avengers, Jim Lee plotted Iron Man and wrote and illustrated The Fantastic Four. He managed to catapult Fantastic Four and Iron Man to the top of the sales charts, although fan reaction to this revamp of such well-known characters was mixed. Halfway through the project, Rob Liefeld was fired from the project and Jim Lee's studio finished all 4 series. At the end of the one-year deal, Jim Lee and Marvel Comics agreed to hand the books over to other creators.
Jim Lee then concentrated in the Wildstorm line, attempting to break away from the stereotype of Image Comics as all style and no substance by publishing critically acclaimed series' The Authority and Planetary. In publishing Alan Moore's America's Best Comics line, Wildstorm Productions brought arguably the English-language comics most critically acclaimed writer back into mainstream publishing after almost a decade of independent work. Jim Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.
In late 1998, however, he left Image Comics and sold Wildstorm Productions to DC Comics. His career as a publisher had mostly precluded art jobs and he desired to return to his roots as an illustrator. In 2003, he collaborated on a 12-issue run on Batman with writer Jeph Loeb. « Batman: Hush » became a runaway sales success. This was followed by a year's stint on Superman, called « For Tomorrow », with writer Brian Azzarello. In 2005, he teamed with Frank Miller on the new series All Star Batman & Robin, the Boy Wonder, a series plagued by delays.

Official site : http://groups.msn.com/artofjimlee/gallery.msnw
Art gallery : http://www.comicartcommunity.com/gallery/categories.php?cat_id=52&page=1
Art gallery : http://www.comicvine.com/jim-lee/26-2399

Selected works :

• Alpha Flight #51, 53, 55-64
• Punisher War Journal #1-12, 17-19
• Uncanny X-Men #248, 256-258, 267-277
• X-Men #1-11
• WildC.A.T.s #1-13
• WildC.A.T.s / X-Men: The Silver Age
• Fantastic Four #1-6
• Divine Right: The Adventures of Max Faraday #1-12
• Batman #608-619
• Superman #204-215
• All Star Batman & Robin, the Boy Wonder #1-9

Joe Madureira, born December 3, 1974 in Philadelphia. In 1991, Marvel Comics hired Joe Madureira, a 16-year-old student at the High School of Art and Design, as an intern. His first published work was an 8-page story for the anthology series Marvel Comics Presents, starring Northstar.
In the next few years, he completed various assignments for Marvel Comics' sprawling X-Men franchise. He became the regular penciler on The Uncanny X-Men in 1994 and soon rose to become one of the most popular artists in the industry. As the Uncanny X-Men artist, Joe Madureira designed the « Age of Apocalypse » uniforms, new manga-inspired costumes for the regular title (after Onslaught), as well as the Avengers' brief new designs after The Crossing.
He left The Uncanny X-Men in 1997 to work on his own series Battle Chasers for Wildstorm Productions' creator-owned Cliffhanger imprint (before it was sold to DC Comics). Nine issues of the constantly-behind-schedule comic book were released. The tenth issue was announced but never published. Joe Madureira chose to abandon its publication, as it was to be the first part of a new storyline which he would not have been able to finish in light of other work to which he had committed. Joe Madureira then went on to work in the video game industry. He returned to the comic book industry as the artist on Marvel Comics' The Ultimates 3, with writer Jeph Loeb.

Official site : http://www.joemadfan.com

Selected works :

• Astonishing X-Men #1-4
• Battle Chasers #0-9 ; Battle Chasers: A Gathering of Heroes TPB
• Deadpool: The Circle Chase #1-4
• Excalibur #57-58
• Marvel Comics Presents #8, 92, 99, 121
• The Ultimates 3 #1-5
• The Uncanny X-Men #312-313, 316-317, 325-326, 328-330, 332, 334-338, 340-343, 345-348, 350
• X-Factor Annual 7

Frank Miller, born January 27, 1957 in Olney, Maryland. Setting out to become an artist, he eventually received his first published work in Gold Key Comics' The Twilight Zone #84 (in September 1978). This was followed by various penciling jobs for anthology titles from DC Comics and his first work at Marvel Comics in John Carter: Warlord of Mars #18. It was at Marvel Comics that Frank Miller would settle in as a regular fill-in and cover artist, working on a variety of titles. One of these jobs was drawing Peter Parker, the Spectacular Spider-Man #27-28. These issues featured Daredevil as a supporting character. At this time, Daredevil was a minor character with his own poor selling title ; however, Frank Miller saw something in the character he liked and asked then Marvel Comics editor-in-chief Jim Shooter if he could work on Daredevil's regular title. Jim Shooter agreed and made Frank Miller the new penciler on the title.
His first issue, Daredevil #158, was the last part of an ongoing story written by Roger McKenzie. Although still conforming to traditional comic book styles, Frank Miller infused this first issue with his own film noir style, which proved to be a success. After this issue, he became one of Marvel Comics' fastest rising stars and also started plotting additional stories with Roger McKenzie. Frank Miller's art was highly detailed but still retained his noir style as his run progressed. Learning from Neal Adams, Frank Miller would sit for hours sketching the roofs of New York in an attempt to give his Daredevil art an authentic feel not commonly seen in super-hero comics at the time. He was so successful with the title that Marvel Comics began publishing the Daredevil comic monthly (as opposed to its previous bi-monthly publication period). From #168 in 1981, Frank Miller took over full duties as writer and penciler, with Klaus Janson providing inks in the issues. Issue #168 saw the first appearance of Elektra. With his creation of Elektra, Frank Miller's work on Daredevil became characterized by darker themes and stories. This peaked when in #181 he had the assassin Bullseye kill Elektra. Although deaths of supporting characters were commonplace in comics at the time, the death of a major character like Elektra was not. He made it clear with the next few issues that he intended Elektra to remain dead, but nonetheless she was revived during his time as writer. He finished his Daredevil run with #191 ; in his time, he had transformed a secondary character into one of the most popular and best-selling characters Marvel Comics published. Due to Daredevil's popularity, Frank Miller became one of the most sought-after artists in the industry.
During this time, he also found time in 1980 to draw a short Batman Christmas story for a DC Comics Christmas special. This was his first encounter with a character with which, like Daredevil, he would later become closely associated. In 1981, he wrote and drew an Elektra story in Bizarre Adventures #28. Frank Miller and writer Chris Claremont produced a 4-part Wolverine mini-series in 1982, spinning off from the popular X-Men title. Frank Miller used this title to expand on Wolverine's character while featuring more of his manga-influenced art. The series was a critical success and further cemented his place as a major artist.
His first creator-owned title, Ronin, was a 6-issue mini-series first published from 1983 to 1984 by DC Comics. With Ronin, Frank Miller not only refined his own art and storytelling techniques, but also helped change how creator rights were viewed, and proved that comics in new formats could be commercially viable. After Ronin, he was relatively reclusive in 1985 ; his only published work was a single issue of Daredevil (issue #219), inspired by the film High Plains Drifter.
In 1986, DC Comics released the first issue of Batman: The Dark Knight Returns, a 4-issue mini-series printed in the new prestige format, and written and drawn by Frank Miller, with colors by Lynn Varley and inks by Klaus Janson. The story tells how Batman retired after the death of the second Robin, and at age 55 returns to fight crime in a future where crime and violence have taken over. Meant as a possible finale for Batman, he created a tough, gritty portrayal of the Dark Knight. Released the same year as Watchmen, it showed a new form of more « adult-oriented » storytelling to a mainstream audience, as well as die-hard comics fans. Receiving massive amounts of media publicity, Frank Miller found that he had not only redefined Batman in comics, but had managed to remove the campy image many had of the character from the 1960s television series. Batman: The Dark Knight Returns influenced the comic book industry by heralding a new wave of darker, more « realistic » characters in comics, and along with Batman: The Killing Joke, it was also a major influence on Tim Burton's Batman in 1989. The trade paperback proved to be a huge seller for DC Comics and remains in print 20 years after first being published. In addition, this comic book helped to finally sever the formerly benign relationship between DC Comics' 2 most recognizable super-heroes, Batman and Superman.
Year 1986 also saw Frank Miller return as writer to Daredevil with artist David Mazzucchelli, creating a story arc that, like Batman: The Dark Knight Returns, redefined and re-invigorated its main character. In Daredevil: Born Again, we learn about the Daredevil's catholic background, and witness the destruction and « rebirth » of alter-ego Matt Murdock at the hands of arch-nemesis, the Kingpin. Frank Miller and artist Bill Sienkiewicz produced the graphic novel Daredevil: Love and War in 1986. Featuring the character of the Kingpin, it indirectly bridges his first run on Daredevil and Daredevil: Born Again by explaining the change in the Kingpin's attitude toward Daredevil. They also produced the 8-issue mini-series Elektra: Assassin for Epic Comics. Set outside regular Marvel Comics continuity, it featured a wild tale of cyborgs and ninjas, while expanding further on Elektra's background. Both of these projects were well-received critically. Elektra: Assassin was praised for its bold storytelling, but neither it nor Daredevil: Love and War had the influence or reached as many readers as Batman: The Dark Knight Returns or Daredevil: Born Again.
Frank Miller's final major story in this period was in Batman #404-407 in 1987, another collaboration with David Mazzuchelli. Titled Batman: Year One, this was Frank Miller's version of the origin of Batman in which he retconned many details and adapted the story to fit his Dark Knight continuity. Proving to be hugely popular, this was as influential as Frank Miller's previous work and a trade paperback released in 1988 remains in print and is one of DC Comics' best-selling books. During this time, Frank Miller - along with Marv Wolfman, Alan Moore and Howard Chaykin - had been in dispute with DC Comics over a proposed ratings system for comics. Disagreeing with what he saw as censorship, he refused to do any further work for DC Comics, and he would take his future projects to the independent publisher Dark Horse Comics. From then on, Frank Miller would be a major supporter of creator rights and be a major voice against censorship in comics.
After leaving DC Comics, Frank Miller intended to only release his work via Dark Horse Comics, however he had one final project for Epic Comics. Elektra Lives Again was a fully-painted graphic novel written and drawn by Frank Miller and colored by longtime partner Lynn Varley. Telling the story of the resurrection of Elektra from the dead and Daredevil's quest to find her, it was the first example of a new style in his art, as well as showing his willingness to experiment with new storytelling techniques. Year 1990 saw Frank Miller and artist Geoff Darrow start work on Hard Boiled, a 3-issue mini-series which suffered from long delays between issues. That aside, the title was a mix of violence and satire which was praised for Geoff Darrow's highly detailed art and Frank Miller's writing. At the same time, he and artist Dave Gibbons produced Martha Washington: Give me Liberty, a 4-issue mini-series for Dark Horse Comics. Another mixture of action and political satire, the title sold well and firmly cemented his reputation as a writer of more « adult » comic books. Martha Washington: Give me Liberty was followed by several follow-up series and specials expanding on the story of the main character Martha Washington, all of which were written by Frank Miller and drawn by Dave Gibbons.
Frank Miller also wrote the scripts for the films RoboCop 2 and RoboCop 3. Neither were critically well-received. After RoboCop 3, he stated that he would never allow Hollywood to make movie adaptations of his comics, being disgusted with the constant studio interference with his scriptwriting. He would come into contact with the fictional cyborg once more, however, writing the critically acclaimed, best-selling limited series, RoboCop vs. the Terminator, with art by Walter Simonson. In 2003, his screenplay for RoboCop 2 was eventually adapted by Steven Grant for Avatar Press' Pulsaar imprint, which now owns the rights to create comics based on RoboCop. Illustrated by Juan Jose Ryp, the series is called Frank Miller's RoboCop and contains plot elements that were divided between RoboCop 2 and RoboCop 3.
In 1991, he started work on his first Sin City story. Serialised in Dark Horse Presents #51-62, this was Frank Miller's first completely solo work, as he wrote and drew the story in black-and-white to emphasize its film noir origins. Proving to be another success, the story was released in a trade paperback. This first Sin City « yarn » was re-released in 2005 under the name The Hard Goodbye. Sin City proved to be Frank Miller's main project for much of the remainder of the decade, as he told more Sin City stories within this noir world of his creation, in the process helping to revitalize the crime comics genre. Sin City proved artistically auspicious for Frank Miller and again brought his work to a wider audience outside of comics.
Daredevil: Man without Fear was a mini-series published by Marvel Comics in 1993 based on an earlier film script. In this, Frank Miller and artist John Romita Jr. told Daredevil's origins differently than in the comics. He also returned to super-heroes by writing issue #11 of Todd McFarlane's Spawn, as well as the Spawn / Batman crossover for Image Comics. In 1995, Frank Miller and Geoff Darrow collaborated again on Big Guy and Rusty the Boy Robot - an homage to Godzilla movies, Astro Boy and patriotic American films from World War II. The series was published as a 2-part mini-series from Dark Horse Comics. In 1999, it became an animated series on Fox Kids. During this period, Frank Miller became one of the founding members of the comic imprint Legend, under which many of his Sin City works were released, via Dark Horse Comics. Also, it was during the 1990s that Frank Miller did cover art for many titles in the Comics Greatest World / Dark Horse Heroes line. Written and illustrated by Frank Miller with painted colors by Lynn Varley, 300 was a 1998 graphic novel series, a retelling of the Battle of Thermopylae and the events leading up to it from the perspective of Leonidas of Sparta. 300 was particularly inspired by the 1962 film « The 300 Spartans », a movie that he watched as a young boy.
He started the new millennium off with the long awaited sequel to Batman: The Dark Knight Returns for DC Comics after he had put aside past differences with DC Comics. Batman: The Dark Knight Strikes Again was initially released as a 3-issue series. Frank Miller has also returned to writing Batman in 2005, taking on the writing duties of All Star Batman & Robin, the Boy Wonder, a series set outside of the normal DC Comics continuity and drawn by Jim Lee. Frank Miller has been vocally opposed to recent comic art attempting to give the cosmetic appearance of what some say is more realism. In an interview on the documentary Legends of the Dark Knight: The History of Batman, he said : « People are attempting to bring a superficial reality to super-heroes which is rather stupid. They work best as the flamboyant fantasies they are. I mean, these are characters that are broad and big. I don't need to see sweat patches under Superman's arms. I want to see him fly. ».
Frank Miller's stance against movie adaptations was to change after Robert Rodriguez made a short film from one of his Sin City short stories. Robert Rodriguez showed this short film to Frank Miller, who was so pleased with the result that he approved a full-length film, Sin City. This would be his second experience with the movie world, after becoming disenchanted years earlier with his experiences with RoboCop 2 and RoboCop 3. The movie was released in the U.S.A. on April 1, 2005, using his original comics panels as storyboards. Frank Miller and Robert Rodriguez are credited as co-directors, which Robert Rodriguez insisted upon (and had allegedly promised to Frank Miller). Directors Guild of America rules permit only one person or « legitimate » directorial team (such as the Coen brothers) being listed as the director of a film. As a result, Robert Rodriguez elected to resign from the Directors Guild of America. The film's success brought renewed attention to Frank Miller and to Sin City. And the 300 film did the same for 300.
In 2006, Frank Miller announced that his next Batman book would be called Holy Terror, Batman ! In the story, Batman defends Gotham City against attacks by real-life terrorist group Al-Qaeda. However, in a 2008 New York Times interview, he mentioned that the story was evolving : « As I worked on it, it became something that was no longer Batman. It's somewhere past that, and I decided it's going to be part of a new series that I'm starting. ».

Official site : http://www.moebiusgraphics.com
Art gallery : http://www.comicvine.com/frank-miller/26-7082

Selected works :

• Peter Parker, the Spectacular Spider-Man #27-28
• Daredevil #158-161, 163-181, 191
• Batman: The Dark Knight Returns #1-4
• Elektra Lives Again
• Sin City: A Dame to Kill for #1-6
• Sin City: Hell and Back #1-9
• Sin City: Just Another Saturday Night #1
• Sin City: Lost, Lonely & Lethal #1
• Sin City: Sex and Violence #1
• Sin City: Silent Night #1
• Sin City: That Yellow Bastard #1-6
• Sin City: The Babe Wore Red and Other Stories #1
• Sin City: The Big Fat Kill #1-5
• 300 #1-5
• Batman: The Dark Knight Strikes Again #1-3