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The Rocketeer’s first adventure appeared in 1982 as a backup feature in issues #2 and #3 of Mike Grell‘s Starslayer series from Pacific Comics. Two more installments appeared in Pacific’s showcase comic Pacific Presents #1 and 2. The fourth chapter ended in a cliffhanger that was later concluded in a special Rocketeer issue released by Eclipse Comics. The complete story was then collected by Eclipse in a single volume titled The Rocketeer. It was published in three versions: a trade paperback edition, a trade hardcover, and a signed, limited edition hardcover. Noted fantasy author Harlan Ellison, a fan of the Rocketeer and also an acquaintance of Dave Stevens, wrote the introduction to the collection; both Dave Stevens and Harlan Ellison signed the limited edition on a specially bound-in bookplate.
The story was continued in the Rocketeer Adventure Magazine. Two issues were published by Comico Comics in 1988 and 1989; the third installment was not published until 1995, six years later by Dark Horse Comics. All three issues were then collected by Dark Horse into a glossy trade paperback titled The Rocketeer: Cliff’s New York Adventure that quickly went out-of-print.
Geoff Johns described the 80-page one-shot as “re-laying the groundwork for DC’s future while celebrating the past and present. It’s not about throwing anything away. It’s quite the opposite.” On the initiative, which was described as a rebirth of the DC Universe, Johns call Rebirth more “in the same vein as Green Lantern: Rebirth and The Flash: Rebirth. Some things alter and change, but it’s more character-driven, and it’s also more about revealing secrets and mysteries within the DC Universe about “Flashpoint” and The New 52 that are part of a bigger tapestry.” The Rebirth initiative will reintroduce concepts from pre-Flashpoint continuity, such as legacy, that were lost with The New 52 and build “on everything that’s been published since Action Comics #1 up thru The New 52.”. Lee said that Johns “came up with this brilliant story [for the DC Universe: Rebirth Special] that basically allows us to seat the New 52 within the continuity that preceded it. So it really synchronizes and harmonizes pre-52 with New 52 continuity”.
Origin (alternatively known as Wolverine: Origin or Origin: The True Story of Wolverine) is a six-issue comic book limited series published by Marvel Comics from November 2001 to March 2002, written by Bill Jemas, Joe Quesada and Paul Jenkins, and illustrated by Andy Kubert (pencils) and Richard Isanove (color).
Origin tells the story of the superhero Wolverine, best known as a member of the X-Men. Since the character first appeared in the early 1970s his history had often been shrouded in mystery, with bits of information revealed piecemeal over time (notably in Weapon X), but this series was the first to reveal Wolverine’s early days and his original background. In their introductions, some of those who worked on the series express their reluctance to reveal the actual origins of one of the comic world’s most popular and mysterious characters. Even Wolverine himself has few recollections of where he came from and this was an essential part of his appeal.
Charles Lippincott, Lucasfilm‘s publicity supervisor, initially approached Stan Lee in 1975 about publishing a Star Wars comic book prior to the film’s release to appeal to the film’s most likely audience. However, Lee declined to consider such a proposal until the film was completed, and was only persuaded otherwise in a second meeting arranged by Roy Thomas, who wanted to edit the series. Considering movie tie-in comics rarely sold well at that time, Lee negotiated a publishing arrangement with no royalties to Lucasfilm until sales exceeded 100,000 at which point legal arrangements could be revisited.
Marvel Comics Group published a series of Star Wars comic books from 1977 to 1986, lasting 107 issues and 3 annuals. According to former Marvel Editor-In-Chief Jim Shooter, the strong sales of Star Wars comics saved Marvel financially in 1977 and 1978. Marvel’s Star Wars series was one of the industry’s top selling titles in 1979 and 1980.The only downside for Marvel was that the 100,000 copy sales quota was surpassed quickly, allowing Lippincott to renegotiate the royalty arrangements from a position of strength.
Ghost first appeared in Comics’ Greatest World, week three, in 1993. After a popular special in 1994, a monthly title devoted to the character began publication in 1995. It ran for 36 issues, followed by a six-month break and a second series of 22 issues. The second series was a continuation of the first with a number of changes, including new details about Ghost’s origin. The stories in both series were based in (and around) the city of Arcadia, in a self-contained fictional universe outlined in Dark Horse’s Comics’ Greatest World.
Ghost continued appearing in her own titles (and others) into the 2000s, including several crossovers unrelated to Comics’ Greatest World. Most notable among these were a two-issue crossover with Dark Horse’s Hellboy (Ghost/Hellboy), and a four-issue crossover with DC Comics’ Batgirl (Ghost/Batgirl: The Resurrection Machine). Ghost was ranked 15th on the Comics Buyer’s Guide‘s “100 Sexiest Women in Comics” list.
A new Deathlok, Michael Collins, debuted in the miniseries Deathlok #1-4 (July-Oct. 1990, reprinted as Deathlok Special #1-4 the following year). He was the second Deathlok to be created in the modern era and also the second to be created for the traditional Marvel Universe. This second Deathlok went on to a 34-issue series cover-dated July 1991 to April 1994, plus two summer annuals in 1992 and 1993.
The early 1970s were a time of change for the Man of Steel. As Clark Kent shifted from being a newspaper reporter to a TV newscaster, his alter ego saw the destruction of all remaining Kryptonite on Earth! This period also featured many new villains, including Terra-Man, and the dramatic reintroductions of such foes as Lex Luthor — in green and purple armor!
Al Milgrom took over scripting as well as art on the title with issue #90 (May 1984) and worked on it through #100 (March 1985). Milgrom imbued the book with a more whimsical tone, for example, pitting Spider-Man against The Spot, an enemy so ridiculous he gave Spider-Man fits of laughter. Jim Owsley, then editor of the Spider-Man books, disapproved of this approach and had Milgrom replaced as writer by newcomer Peter David in 1985. David and artist Rich Buckler, said Owsley, had the series “focusing on stories with a serious, ‘grown-up’ tone and more complex themes”. The most notable story arc of the David/Buckler era is “The Death of Jean DeWolff” (#107–110, Oct. 1985–Jan. 1986), in which Spider-Man’s ally, NYC Police Captain Jean DeWolff – a supporting character in the Spider-Man comics since 1976 – is murdered by the vigilante/serial killer the Sin-Eater. This multi-part story guest-starred Daredevil. The “Kraven’s Last Hunt” storyline by writer J.M. DeMatteis and artists Mike Zeck and Bob McLeod crossed over into Peter Parker, The Spectacular Spider-Man #131 and 132.
After the events of Flashpoint as part of The New 52, Nightwing was relaunched with issue #1. Grayson resumes the role of Nightwing following the return of Bruce Wayne. The new series, written by Kyle Higgins, opens with Grayson having returned to Gotham, when Haly’s Circus comes to town. Through a series of events, Grayson inherits the circus and is working through internal struggles with his past as he investigates the secrets the circus has brought about.
During the events of Death of the Family (a bat-family crossover) Haly’s circus is targeted by the Joker. As a result, the circus is burnt down and the circus members leave. Dick is left feeling depressed and lost as a result of this and the death of Damian Wayne (Robin) and is at a loss for what to do with his life. However, when Sonia Branch reveals to him that she believes her father, Tony Zucco, is alive and living in Chicago, Dick makes the decision take him down. Therefore, in 2013 Nightwing relocated to Chicago to hunt down Tony Zucco and also take down The Prankster, a new supervillain hacker in Chicago.
In 1996, Topps published X-Files #0, an adaptation of the pilot episode, in order to test the market for a series adapting the episodes of the X-Files TV series. The issue was successful, and X-Files Season One ran for nine issues (August 1997 – July 1998). The series’s name was provisional, and Topps in fact intended to adapt every episode, but never got as far as season two. The series was written by Roy Thomas, who would create a first draft for each issue by working off of the episode’s script, then watch the actual episode and modify his work to account for changes made on the set.