The Sandman of the 1970s was created by Joe Simon and Jack Kirby. Issue #1 was intended as a one-shot, but five more issues and an additional story followed. After the first issue, the stories were written by Michael Fleisher. The second and third issues were illustrated by Ernie Chua. Inks were by Kirby, Mike Royer and, in the sixth issue, Wally Wood. All covers were by Kirby, and the fourth issue noted his return to the interior artwork on the cover.
This Sandman was originally intended to be the actual Sandman of popular myth, “eternal and immortal”, despite his superhero-like appearance and adventures. The Sandman is assisted by two living nightmares named Brute and Glob, whom he releases from domed cells with the help of a magic whistle. They are nuisances who beg for release, who are intent on hand-to-hand combat, but are implied to be relatively harmless and well-intentioned once freed. Using security monitoring devices, the Sandman can enter the “Dream Stream” or the “Reality Stream” (in which he acts like the superhero he looks like), and he carries a pouch of dream dust with which he can cause anyone to sleep and dream. The Sandman’s main task is protecting children from nightmare monsters within their dreams, especially one young boy named Jed, who lives with his grandfather, Ezra Paulsen, as well as to ensure that children have an appropriate level of nightmares rather than dealing with such anxieties in real life.
The first volume of the series ran for 200 issues from August/September 1955 to July 1983. Originally, The Brave and the Bold was an anthology series featuring adventure tales from past ages with characters such as the Silent Knight, the Viking Prince, the Golden Gladiator, and Robin Hood. With issue #25, the series was reinvented as a try-out title for new characters and concepts, starting with the Suicide Squad created by writer Robert Kanigher and artist Ross Andru. Gardner Fox and Joe Kubert created a new version of Hawkman in issue #34 (February–March 1961) with the character receiving his own title three years later.
The Incredible Hulk travels to an apocalyptic future to face his ultimate challenge…himself. Meet the Maestro, the Hulk’s future imperfect self. Approximately a hundred years into the future, a nuclear war has killed almost all of Earth‘s superhumans and has taken the world to the brink of extinction. A future version of the Hulk called Maestro has seized control after being driven insane by the nuclear radiation he has absorbed and the bitterness he feels towards the world at his continued treatment. He has the intelligence of Bruce Banner and the absorbed radiation has significantly enhanced his strength. Can even the Green Goliath defeat a foe whose strength rivals his own? A foe who knows his every move before he even makes it?
Bone is an independently published comic book series, written and illustrated by Jeff Smith, originally serialized in 55 irregularly released issues from 1991 to 2004.
Smith’s black-and-white drawings were inspired by animated cartoons and comic strips, a notable influence being Walt Kelly‘s Pogo: “I was … a big fan of Carl Barks and Pogo, so it was just natural for me to want to draw that kind of mixture of Walt Kelly and Mœbius.” Accordingly, the story is singularly characterized by a mixture of both light-hearted comedy and dark fantasy thriller: Time has called the series “as sweeping as the Lord of the Rings cycles, but much funnier.” The series was published bimonthly with some delays from June 1991 to June 2004. The series was self-published by Smith’s Cartoon Books for issues #1 to #19, by Image Comics from issues #20 to #28, and back to Cartoon Books for issues #29 to #55.
Released in 1994, this figurine was sculpted by Jeff Smith/Randy Bowen. It is limited to 3000 pieces of which this is #2001. Also included is a limited edition Bone print. Figurine is still sealed in the original bag and box.
Detective Comics #1 vol. 2 (Nov. 2011) is the relaunch of Detective Comics. Story by Tony Daniel; art by Tony Daniel and Ryan Winn. The first issue of the relaunched Detective Comics has received six printings, second only to the relaunched Justice League which had seven printings.The series seventh issue was also DC Comic’s sixth highest selling digital comic, ranking above many other series in the Batman category.Scott West of Sciencefiction.com gave the series’ third arc a positive review, stating that “After last month’s disappointing ‘Night of the Owls’ tie-in issue, it’s nice to see ‘Detective Comics’ getting back to where it should be… good detective stories.”The relaunched Detective Comics received the award for “Best Series” at the 2012 Stan Lee Awards. The series’ first collected edition would reach the number one spot on The New York Times Best Seller list in the category of “Hardcover Graphic Books”.
Walt Simonson took over both writing and art as of #337 (Nov. 1983). His stories placed a greater emphasis on the character’s mythological origins. Simonson’s run as writer-artist lasted until #367 (May 1986), although he continued to write – and occasionally draw – the book until issue #382 (Aug. 1987). Simonson’s run, which introduced the character Beta Ray Bill, was regarded as a popular and critical success.Simonson’s later stories were drawn by Sal Buscema, who describes Simonson’s stories as “very stimulating. It was a pleasure working on his plots, because they were a lot of fun to illustrate. He had a lot of great ideas, and he took Thor in a totally new direction.” Asked why he was leaving Thor, Simonson said that he felt the series was due for a change in creative direction, and that he wanted to reduce his work load for a time. After Simonson’s departure, Marvel’s editor-in-chief at the time, Tom DeFalco, became the writer. Working primarily with artist Ron Frenz, DeFalco stayed on the book until #459 (Feb. 1993).
The title was one of four launched by Marvel Comics editor-in-chief Roy Thomas to form a line of science fiction and horror anthologies with more thematic cohesiveness than the company’s earlier attempts that decade, which had included such series as Chamber of Darkness and Tower of Shadows. Whereas those titles generally presented original stories, these new books would instead adapt genre classics and other works.
The bimonthly series ran exclusively new material through issue #4, with one reprinted story added to the mix for the following two issues, and only one new story in issue #7, after which the series became all-reprint. Most of the reprinted stories were 1950s “pre-Code” horror stories, which the industry self-censorship organization the Comics Code Authority had forbidden on Code-approved comics until a loosening of the Code in 1971.
The major event many cite as marking the beginning of the Golden Age was the 1938 debut of Superman in Action Comics #1, published by the predecessor of modern-day DC Comics. The creation of Superman made comic books into a major industry. Some date the start to earlier events in the 1930s: The Overstreet Comic Book Price Guide‘s regular publication The Golden Age Quarterly lists comic books from 1933 onwards (1933 saw the publication of the first comic book in the size that would subsequently define the format); some historians, such Roger Sabin, date it to the publication of the first comic books featuring entirely original stories rather than re-prints of comic strips from newspapers (1935) by the company that would become DC Comics.