Gene Colan

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Template:Short description Template:Infobox comics creator Eugene Jules Colan (Template:IPAc-en; September 1, 1926 – June 23, 2011)<ref name=ssdi>Eugene Colan at the Social Security Death Index via FamilySearch.org. Retrieved on February 22, 2013.</ref> was an American comic book artist best known for his work for Marvel Comics, where his signature titles include the superhero series Daredevil, the cult-hit satiric series Howard the Duck, and The Tomb of Dracula, considered one of comics' classic horror series. He co-created the Falcon, the first African-American superhero in mainstream comics;<ref name=MarvelFirstAAsh>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=MarvelChronicle>Template:Cite book</ref> Carol Danvers, who would become Ms. Marvel and Captain Marvel; and the non-costumed, supernatural vampire hunter Blade.

Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005.

Early life

Eugene Jules Colan<ref name=nyt /> was born September 1, 1926, to Harold Colan, an insurance salesman, and Winifred Levy Colan, an antique dealer,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in The Bronx,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> New York City.<ref name=ae6>Template:Cite journal</ref> His parents ran an antiques business on the Upper East Side.<ref name=nyt>Template:Cite news</ref> His family was Jewish, and the family's surname had originally been "Cohen".<ref>Template:Cite news</ref> Colan began drawing at age three. "The first thing I ever drew was a lion. I must've absolutely copied it or something. But that's what my folks tell me. And from then on, I just drew everything in sight. My grandfather was my favorite subject".<ref name=ae6 /> Among his earliest influences, he said in 2001, were the Coulton Waugh adventure comic strip Dickie Dare "in The New York Sun. I was influenced by the style, or the story. Mostly the story. I took it very seriously."<ref name=tcj231 /> He moved with his family "at about age 4" to Long Beach, New York, on Long Island.<ref name=tcj231>Template:Cite journal</ref> Later, he would try to copy artist Norman Rockwell's covers to The Saturday Evening Post.<ref name=tcj231 /> Other major art influences were comics artists Syd Shores and Milton Caniff.<ref name=ae6/> Colan attended George Washington High School in the Washington Heights section of Manhattan, and went on to study at the Art Students League of New York.<ref name=nyt />

Career

Early career

File:Daredevil cover - number 48.jpg
Daredevil #48 (Jan. 1969). Gene Colan (penciler) and George Klein (inker) slip an in-joke into this Times Square scene. Whatever caused the apparent frustration, note the word at Daredevil's left hand.

Colan began working in comics in 1944, doing illustrations for publisher Fiction House's aviation-adventure series Wings Comics. "[J]ust a summertime job before I went into the service",<ref name=adelaide>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> it gave Colan his first published work, the one-page "Wing Tips" non-fiction filler "P-51B Mustang" (issue #52, Dec. 1944).<ref>Template:Gcdb issue</ref> His first comics story was a seven-page "Clipper Kirk" feature in the following month's issue.<ref>Template:Gcdb issue </ref>

After attempting to enlist in the U.S. Marine Corps during World War II but being pulled out by his father "because I was underage", Colan at "18 or 19" enlisted in the Army Air Corps.<ref name=ae6/> Originally scheduled for gunnery school in Boulder, Colorado, plans changed with the war's sudden end. "I was going to be an aerial gunner. A bomber. But it never materialized", he recalled in 2001.<ref name=tcj231/> After training at an Army camp near Biloxi, Mississippi, he joined the U.S. forces in the Philippines. There Colan rose to the rank of corporal, drew for the Manila Times, and won an art contest.<ref name=ae6/>

Upon his return to civilian life in 1946, Colan went to work for Marvel Comics' 1940s precursor, Timely Comics.<ref>Sanders, et al. (2008), p 33.</ref> He recalled in 2000,

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Comics historian Michael J. Vassallo identifies that first story as "Adam and Eve — Crime Incorporated" in Lawbreakers Always Lose #1 (cover date Spring 1948), on which is written the internal job number 2401. He notes another story, "The Cop They Couldn't Stop" in All-True Crime #27 (April 1948), job number 2505, may have been published first, citing the differing cover-date nomenclature ("Spring" v. "April") for the uncertainty.<ref>Vassallo, Michael J. Marvel Masterworks: Atlas Era Strange Tales Vol. 2, "The History of Atlas Horror/Fantasy Pre-Code 1953" (Marvel Publishing 2009). p. vii (unnumbered). Template:ISBN</ref>

Hired as "a staff penciler",<ref name=MarvelChronicle/> Colan "started out at about $60 a week. ... Syd Shores was the art director".<ref>Gene Colan interview, Alter Ego #52 (March 2006), p. 66</ref> Due to Colan's work going uncredited, in the manner of the times, comprehensive credits for this era are difficult if not impossible to ascertain. In 2010, he recalled his first cover art being for an issue of Captain America Comics;<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Colan drew the 12-page lead story in issue #72, the cover-artist of which is undetermined.<ref>Captain America Comics #72 at the Grand Comics Database</ref> He definitively drew the cover of the final issue, the horror comic Captain America's Weird Tales #75 (Feb. 1950),<ref>Brevoort, Tom "1950s" in Gilbert (2008), p. 46</ref> which did not include the titular superhero on either the cover or inside.<ref>Captain America Comics #75 at the Grand Comics Database</ref>

After virtually all the Timely staff was let go in 1948 during an industry downturn, Colan began freelancing for National Comics, the future DC Comics. A stickler for accuracy, he meticulously researched his countless war stories for DC's All-American Men at War, Captain Storm, and Our Army at War, as well as for Marvel's 1950s forerunner Atlas Comics, on the series Battle, Battle Action, Battle Ground, Battlefront, G.I. Tales, Marines in Battle, Navy Combat and Navy Tales. Colan's earliest confirmed credit during this time is penciling and inking the six-page crime fiction story "Dream Of Doom", by an uncredited writer, in Atlas' Lawbreakers Always Lose #6 (Feb. 1949).<ref>Lawbreakers Always Lose #6 (Feb. 1949) at the Grand Comics Database</ref>

By the early 1950s, he was living in New Rochelle, New York.<ref name=tcj231p2>Colan interview, The Comics Journal, p. 2. Template:Webarchive.</ref> Around this time he did his first work for DC Comics, then the industry leader, on the licensed series Hopalong Cassidy, based on the film and TV Western hero, drawing it from 1954 to 1957.<ref name=gcd /><ref>Template:Cite book</ref> In the 1960s, he lived in New Jersey, where his and Adrienne's children, Erik and Nanci,<ref name=nyt /> were raised.<ref name=ae6 />

File:DrStrange180.jpg
Dr. Strange #180 (May 1969). Cover art by Colan and inker Tom Palmer, utilizing photomontage.

Silver Age

While freelancing for DC romance comics in the 1960s, Colan did his first superhero work for Marvel under the pseudonym Adam Austin.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Taking to the form immediately, he introduced the "Sub-Mariner" feature in Tales to Astonish,<ref>DeFalco, Tom "1960s" in Gilbert (2008), p. 109: "Prince Namor replaced Giant-Man as the lead feature in Tales to Astonish #70. The Sub-Mariner series was written by Stan Lee and drawn by Gene Colan, who was using the pen name Adam Austin at the time."</ref> and succeeded Don Heck on "Iron Man" in Tales of Suspense.

Sometime after Colan began this pseudonymous stint, Marvel editor Stan Lee made overtures to lure him from DC. Colan recalled,

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Under his own name, Colan became one of the premier Silver Age Marvel artists, illustrating a host of such major characters as Captain America, Doctor Strange (both in the late-1960s and the mid-1970s series), and his signature character, Daredevil. Operating, like other company artists, on the "Marvel Method" — in which editor-in-chief and primary writer Stan Lee "would just speak to me for a few minutes on the phone, tell me the beginning, the middle and the end [of a story] and not much else, maybe four or five paragraphs, and then he'd tell me to make [a 20-page] story out of it,"<ref name=adelaide /> providing artwork to which Lee would then script dialogue and captions — Colan forged his own style, different from that of artists Jack Kirby and Steve Ditko, whom Lee would point to as examples of the Marvel style:

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Lee and Colan introduced the Emissaries of Evil in Daredevil Annual #1 (1967)<ref>DeFalco "1960s" in Gilbert (2008), p. 124</ref> and the Jester in Daredevil #42 (July 1968).<ref>DeFalco "1960s" in Gilbert (2008), p. 130: "[Stan Lee] and artist Gene Colan introduced Jonathan Powers aka the Jester."</ref> Colan's long run on the Daredevil series encompassed all but three issues in an otherwise unbroken, 81-issue string from #20-100 (Sept. 1966 - June 1973), plus the initial Daredevil Annual (1967). He returned to draw ten issues sprinkled from 1974 to 1979, and an eight-issue run in 1997. Colan admitted relying upon amphetamines in order to make deadlines for illustrating the series Doctor Strange,<ref>Template:Cite journal</ref> for which he would personally visit the character's real-life Manhattan neighborhood, Greenwich Village, and shoot Polaroid photographs to use as location reference.<ref name=tcj231p3>Colan interview, The Comics Journal, p. 3. Template:Webarchive.</ref> Captain Marvel, a character created to secure the trademark on the name,<ref name=CaptainMarvel1967>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> debuted in Marvel Super-Heroes #12 (Dec. 1967) by Lee and Colan.<ref>DeFalco "1960s" in Gilbert (2008), p. 125: Captain Mar-Vell was a Kree warrior sent to spy on Earth, by Stan Lee and artist Gene Colan.</ref> The original Guardians of the Galaxy first appeared in Marvel Super-Heroes #18 (Jan. 1969) by writer Arnold Drake and Colan.<ref>DeFalco "1960s" in Gilbert (2008), p. 134: "The Guardians of the Galaxy were a science-fiction version of the group from the movie Dirty Dozen (1967) and were created by writer Arnold Drake and artist Gene Colan."</ref>

In Captain America #117 (Sept. 1969), Colan and writer-editor Stan Lee created the Falcon,<ref name=gcd117>Captain America #117 at the Grand Comics Database</ref> the first African-American superhero in mainstream comic books.<ref name=MarvelFirstAAsh/><ref name=MarvelChronicle/> The character came about, Colan recalled in 2008, Template:Quote

Concurrent with his move to Marvel, Colan also contributed several stories to Warren Publishing's line of black-and-white horror comics magazines, beginning with the six-page tale "To Pay the Piper", by writer Larry Ivie, in Eerie #2 (March 1966). There and in subsequent stories for that magazine and its sister publication, Creepy, Colan would ink his own pencil work. His final original Warren story, "First Blood", appeared in Eerie #11 (Sept. 1967). The vast majority of these were written by Warren editor Archie Goodwin, with whom Colan would later collaborate on Marvel's Iron Man.<ref name=gcd /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Dracula and Batman

Colan in the 1970s illustrated the complete 70-issue run of the acclaimed<ref>Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> horror title The Tomb of Dracula<ref>Sanderson "1970s" in Gilbert (2008), p. 155: "Following the revision of the Comics Code, Stan Lee was eager to do a comics series about the archetypal vampire, novelist Bram Stoker's Dracula. Based on a few ideas from Lee, Roy Thomas plotted the first issue of The Tomb of Dracula, which Gerry Conway then scripted. The interior art was penciled by Gene Colan."</ref> as well as most issues of writer Steve Gerber's cult hit Howard the Duck.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Colan, already one of Marvel's most well-established and prominent artists, said he had lobbied for the Tomb of Dracula assignment:

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Colan and Marv Wolfman created several supporting characters for the Dracula series. They introduced Blade in The Tomb of Dracula #10 (July 1973)<ref>Sanderson "1970s" in Gilbert (2008), p. 160: "Early in their collaboration on The Tomb of Dracula, writer Marv Wolfman and artist Gene Colan co-created Blade, a black man who stalked and killed vampires with the wooden blades after which he named himself."</ref> and Lilith in Giant-Size Chillers #1 (June 1974).<ref>Sanderson "1970s" in Gilbert (2008), p. 165: "Created by Marv Wolfman and Gene Colan, Lilith took possession of host bodies of women who, like her, despised their fathers."</ref> Colan became the artist of Doctor Strange volume 2 with issue #6 (Feb. 1975) which introduced the Gaea character.<ref>Sanderson "1970s" in Gilbert (2008), p. 168</ref> A crossover between the two Colan-drawn series occurred in May 1976.<ref>Sanderson "1970s" in Gilbert (2008), p. 175: "The great Marvel artist Gene Colan was doing superb work illustrating both Doctor Strange and The Tomb of Dracula. So it made sense for Strange writer Steve Englehart and Tomb author Marv Wolfman to devise a crossover story."</ref> In 2010, Comics Bulletin ranked Colan's run on The Tomb of Dracula fifth on its list of the "Top 10 1970s Marvels". His work on Doctor Strange was ranked ninth on the same list.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Colan's collaboration with Steve Gerber on the Howard the Duck series saw the title character nominated by the All-Night Party, a fictional political party, as their nominee in the Presidential campaign of 1976,<ref>Sanderson "1970s" in Gilbert (2008), p. 177: "Howard the Duck ended up being nominated as [a] presidential candidate!"</ref> and led to Howard the Duck receiving thousands of write-in votes in the actual election.<ref>Template:Cite book</ref> The Gerber-Colan team created Doctor Bong in Howard the Duck #15 (Aug. 1977).<ref>Sanderson "1970s" in Gilbert (2008), p. 180</ref> Gerber later said to Colan: "There really was almost a telepathic connection there. I would see something in my mind, and that is what you would draw! I've never had that experience with another artist before or since."<ref>Template:Cite book</ref>

Colan returned to DC in 1981,<ref name="Catron">Template:Cite journal</ref> following a professional falling out with Marvel editor-in-chief Jim Shooter.<ref name=cbr>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Colan recalled two decades later that Shooter

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He brought his shadowy, moody textures to Batman, serving as the character's primary artist from 1981 to 1986, penciling most issues of Detective Comics and Batman during this time. His debut issue of the character's eponymous series was #340 (Oct. 1981).<ref name="Catron" /><ref>Template:Cite book</ref> With writer Gerry Conway, Colan revived the Golden Age supervillains Doctor Death in Batman #345 (March 1982)<ref>Manning "1980s" in Dougall, p. 141</ref> and the Monk in Batman #350 (Aug. 1982)<ref>Manning "1980s" in Dougall, p. 142</ref> and introduced Killer Croc in Detective Comics #523 (Feb. 1983).<ref>Manning, Matthew K. "1980s" in Dolan, p. 200: "Killer Croc made his mysterious debut in the pages of Detective Comics #523, written by Gerry Conway, with art by Gene Colan ... Croc would soon become a major player in Gotham's underworld."</ref> Killer Croc appears in the 2016 live-action movie Suicide Squad, portrayed by Adewale Akinnuoye-Agbaje.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Another new character, Nightslayer, was created by Colan and Doug Moench in Detective Comics #529 (Aug. 1983).<ref>Manning "1980s" in Dougall, p. 146: "Doug Moench and artist Gene Colan introduced readers to the Thief of the Night (later called Nightslayer), a shadowy burglar."</ref>

In the insert preview in DC Comics Presents #41 (Jan. 1982), writer Roy Thomas and Colan provided Wonder Woman with a stylized "WW" emblem on her bodice, replacing the traditional eagle.<ref>Template:Cite journal</ref> The "WW" emblem, unlike the eagle, could be protected as a trademark and therefore had greater merchandising potential. Wonder Woman #288 (February 1982) premiered the new costume and an altered cover banner incorporating the "WW" emblem.<ref>Wonder Woman #288 (February 1982) at the Grand Comics Database</ref> Colan was one of several artists on Wonder Woman #300 (Feb. 1983)<ref>Manning "1980s" in Dolan, p. 200: "The Amazing Amazon was joined by a host of DC's greatest heroes to celebrate her 300th issue in a seventy-two-page blockbuster ... Written by Roy and Dann Thomas, and penciled by Gene Colan, Ross Andru, Jan Duursema, Dick Giordano, Keith Pollard, Keith Giffen, and Rich Buckler."</ref><ref>Template:Cite journal</ref> and stayed on the series until issue #305 wherein he and writer Dan Mishkin reintroduced the character Circe to the rogues gallery of Wonder Woman's adversaries.<ref>Manning "1980s" in Dolan, p. 202: "The sorceress Circe stepped out of the pages of Homer's Odyssey and into the modern mythology of the DC Universe in Wonder Woman #305, courtesy of Dan Mishkin's script and Gene Colan's pencils."</ref> Steve Gerber and Colan reunited at DC to produce The Phantom Zone limited series.<ref>Manning "1980s" in Dolan, p. 196: "DC once again shone the spotlight on Superman's alien past in this four-issue miniseries by writer Steve Gerber and artist Gene Colan."</ref> Helping to create new characters as well, Colan collaborated in the 1980s with The Tomb of Dracula writer Marv Wolfman on the 14-issue run of Night Force featuring characters introduced in an insert preview in The New Teen Titans #21 (July 1982).<ref>Manning "1980s" in Dolan, p. 197 "The New Teen Titans #21 "This issue ... hid another dark secret: a sixteen-page preview comic featuring Marv Wolfman's newest team - Night Force. Chronicling the enterprise of the enigmatic Baron Winters and featuring the art of Gene Colan, Night Force spun out into an ongoing title of gothic mystery and horror the following month."</ref> He was one of the contributors to the DC Challenge limited series in 1985.<ref>Template:Cite journal</ref> Additionally, Colan worked with Cary Bates on the 12-issue run of Silverblade; with Greg Potter on the 12-issue run of Jemm, Son of Saturn; and drew the first six issues of Doug Moench's 1987 revival of The Spectre.<ref name=gcd />

File:Rachel van Helsing.jpg
Colan page from The Tomb of Dracula #40 (Jan. 1976). Inked by Tom Palmer.

Colan's style, characterized by fluid figure drawing and extensive use of shadow, was unusual among Silver Age comic artists,<ref>Daniels, p. 132</ref> and became more pronounced as his career progressed. He usually worked as a penciller, with Frank Giacoia and Tom Palmer as his most frequent inkers. Colan broke from the mass-market comic book penciller/inker/colorist assembly-line system by creating finished drawings in graphite and watercolor on such projects as the DC Comics miniseries Nathaniel Dusk (1984) and Nathaniel Dusk II (1985–86), and the feature "Ragamuffins" in the Eclipse Comics umbrella series Eclipse #3, 5, and 8 (1981–83), with frequent collaborator Don McGregor.<ref name=gcd />

Independent-comics work includes the Eclipse graphic novel Detectives Inc.: A Terror Of Dying Dreams (1985), written by McGregor and reprinted in sepia tone as an Eclipse miniseries in 1987, and the miniseries Predator: Hell & Hot Water for Dark Horse Comics. He contributed to Archie Comics in the late 1980s and early 1990s, drawing and occasionally writing a number of stories. His work there included penciling the lighthearted science-fiction series Jughead's Time Police #1-6 (July 1990–May 1991), and the 1990 one-shot To Riverdale and Back Again, an adaptation of the NBC TV movie about the Archie characters 20 years later, airing May 6, 1990; Stan Goldberg drew the parts featuring the characters in flashback as teens, while Colan drew adult characters, in a less cartoony style, and Mike Esposito inking both.<ref name=gcd />

Back at Marvel, he collaborated again with Marv Wolfman and veteran inker Al Williamson on a new The Tomb of Dracula series, and with Don McGregor on a Black Panther serial in the Marvel Comics Presents anthology, as well as a six-issue adaptation of Clive Barker's "The Harrowers: Raiders of the Abyss."<ref name=gcd />

Later life and career

Colan did some insert artwork on Hellbilly Deluxe (released August 1998), the first solo album of Rob Zombie, credited as Gene "The Mean Machine" Colan.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Unrealized projects around this time included the Marvel Music comic Elvis: Mystery Train, which went on hold, he said in 1996, "when Marvel ran into problems, so everything came to a halt. Right now it's in limbo. Senator Daniel Patrick Moynihan's son is writing it ..."<ref name=westfield>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1998, Colan and his Tomb of Dracula writing collaborator, Marv Wolfman, reteamed on Dark Horse Comics three-issue miniseries The Curse of Dracula (July-Sept. 1998).<ref name=gcd>Template:Gcdb</ref> Saying the book required "a much younger and better-looking Dracula" than in their previous series, Colan used "my lawn-boy [as] my model. ... I asked him to do the posing and he did."<ref name=tcj231p4>Colan interview, The Comics Journal, p. 4. Template:Webarchive.</ref> For the same company early the next decade, Colan returned to vampires with the 2001 one-shot Buffy the Vampire Slayer: Tales of the Slayers, an omnibus that included writer Doug Petrie's 16-page "Nikki Goes Down", starring a 1970s vampire slayer seen in one episode of the namesake TV series.<ref name=gcd />

Colan penciled the final pages of Blade vol. 3, #12 (Oct. 2007), the final issue of that series, drawing a flashback scene in which the character dresses in his original outfit from the 1970s series The Tomb of Dracula. That same month, for the anniversary issue Daredevil vol. 2, #100 (Oct. 2007), Colan penciled pages 18–20 of the 36-page story "Without Fear, Part One"; the issue additionally reprinted the Colan-drawn Daredevil #90-91 (Aug.-Sept. 1972).<ref name=gcd />

In the late 1980s, Colan, in addition to his art, taught at Manhattan's School of Visual Arts and Fashion Institute of Technology,<ref name=tcj231p5 /> and had showings at the Bess Cutler Gallery in New York City and at the Elm Street Arts Gallery in Manchester, Vermont.<ref name=cartoonart>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He had relocated to nearby Manchester Center, Vermont, from New York City in 1990 or 1991, and was living there as of 2001.<ref name=tcj231p5>Colan interview, The Comics Journal, p. 5. Template:Webarchive.</ref> By 2009 at the latest, they had returned to New York City, settling in Brooklyn.<ref>Template:Cite news (Photo caption) Archive requires highlighting of black text on black background to make visible.</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=heroinitiative>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

On May 11, 2008, his family announced that Colan, who had been hospitalized for liver failure, had suffered a sharp deterioration in his health.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> By December, he had sufficiently recovered to travel to an in-store signing in California.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He continued to produce original comics work as late as 2009, drawing the 40-page Captain America #601 (Sept. 2009), for which he won an Eisner Award.<ref name="Eisner2010">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Personal life

Gene Colan was married twice: first to Sallee Greenberg, with whom he had children Valerie and Jill before the couple divorced, and Adrienne Brickman, with whom he had children Erik and Nanci.<ref name=nyt /><ref>"[M]y first wife and I would go out on dates with" fellow Timely Comics artist Rudy Lapick and his girlfriend": Alter Ego, p. 70</ref> Adrienne Colan died on June 21, 2010.<ref name=adrienneRIP>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Colan died in the Bronx on June 23, 2011, aged 84, following complications of cancer and liver disease.<ref name=nyt/> He lived in Brooklyn at the time of his death.<ref name=ssdi /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }} (Archived link requires scrolldown.)</ref>

Awards and honors

Colan's collaboration with Steve Gerber on Howard the Duck received the 1977<ref name="Eagle1977">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and 1978<ref name="Eagle1978">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Eagle Award for Favorite Comic Book (Humor) and was nominated for four Eagle Awards in 1978.<ref name="Eagle1978" /> Colan received an Inkpot Award in 1978 as well.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2005, Colan was inducted into the comics industry's Will Eisner Comic Book Hall of Fame.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He subsequently won the 2010 Eisner Award for Best Single Issue (together with writer Ed Brubaker) for his work on Captain America #601 (Sept. 2009).<ref name="Eisner2010" />

The Cartoon Art Museum in San Francisco presented the retrospective "Colan: Visions of a Man without Fear" from November 15, 2008, to March 15, 2009.<ref name=cartoonart /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Colan was the recipient of the 2008 Sparky Award, presented December 4, 2008<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and won the Comic Art Professional Society's Sergio Award on October 24, 2009.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Bibliography

Archie Comics

Bongo Comics

Comico

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CrossGen Comics

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Dark Horse Comics

DC Comics

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Disney Comics

Eclipse Comics

IDW Comics

  • Hero Comics oneshot (also writer) (2009)

Marvel Comics

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  • Lawbreakers Always Lose #1–2, 6 (1948–49)
  • Love Adventures #2 (1950)
  • Love Romances #101 (1962)
  • Love Tales #62 (1955)
  • Loveland #1 (1949)
  • Lovers #26 (1949)
  • Man Comics #9, 13, 21, 23 (1951-1953)
  • Marines at War #5-7 (1957)
  • Marines in Action #5-6, 11-12 (1956-1957)
  • Marines in Battle #1, 9-10, 17, 19-25 (1954-1958)
  • Marvel Comics Presents #13–37, 101–108, 112 (1989-1992)
  • Marvel Fanfare #51-52 (1990)
  • Marvel Preview #8, 16, 23 (1976-1980)
  • Marvel Romance Redux: But I Thought He Loved Me #1 (2006)
  • Marvel Romance Redux: Guys & Dolls #1 (2006)
  • Marvel Romance Redux: I Should Have Been a Blonde #1 (2006)
  • Marvel Romance Redux: Love Is a Four-Letter Word #1 (2006)
  • Marvel Spotlight #18-19 (Son of Satan) (1974)
  • Marvel Super-Heroes #12–13 (Captain Marvel), 15 (Medusa), 18 (Guardians of the Galaxy) (1967-1969)
  • Marvel Super Special #6 (Jaws 2 movie adaptation); 10 (Star-Lord); #14 (Meteor movie adaptation) (1978-1979)
  • Marvel Tales #93-94, 96, 101, 105, 107, 118, 120-121, 127, 131, 140 (1949-1955)
  • Marvel Team-Up #87 (1979)
  • Men's Adventures #13-14, 19, 26 (1952-1954)
  • Menace #6 (1953)
  • Midnight Sons Unlimited #6 (1994)
  • Monsters Unleashed #1 (1973)
  • My Love #3 (1950)
  • My Love vol. 2 #4-6, 8-9, 13, 15-16 (1970-1972)
  • My Own Romance #11, 18, 44 (1950–55)
  • Mystery Tales #1, 3, 18, 35, 43 (1952-1956)
  • Mystic #3, 7, 12, 21, 37, 60 (1951-1957)
  • Navy Action #8, 10-11, 16-18 (1955-1957)
  • Navy Combat #4, 6, 11, 13-18 (1955-1958)
  • Navy Tales #3-4 (1957)
  • Not Brand Echh #4-5, 8-9, 13 (1967-1969)
  • Our Love #1 (1949)
  • Our Love Story #3-6, 8, 10 (1970-1971)
  • Outlaw Fighters #4 (1955)
  • Police Action #1 (1954)
  • Quick-Trigger Western #13, 16 (1956-1957)
  • Rangeland Love #1 (1949)
  • Rawhide Kid #35, 37-38 (1963-1964)
  • Richie Rich #1 (movie adaptation) (1995)
  • Riot #1 (1954)
  • Savage Sword of Conan #33 (1978)
  • Savage Tales #1 (1971)
  • Secret Story Romances #9 (1954)
  • Silver Surfer #1–3 (The Watcher backup stories) (1968)
  • Six-Gun Western #3 (1957)
  • Spellbound #17, 28 (1953-1956)
  • Sports Action #3 (1950)
  • Spy Cases #1 (1950)
  • Strange Stories of Suspense #13 (1957)
  • Strange Tales #7-8, 11, 18, 20, 26, 53, 58-59, 97 (1952-1962); #169–173 (Brother Voodoo) (1973-1974)
  • Sub-Mariner #10–11, 40, 43, 46-49 (1969-1972)
  • Suspense #2-4, 9, 17 (1950-1952)
  • Tales of Justice #62 (1956)
  • Tales of Suspense #73–99 (1966-1968)
  • Tales of the Zombie #2, 6 (1973–1974)
  • Tales to Astonish (Sub-Mariner) #70–77, 79–82, 84–85, 101 (1965-1968)
  • Teen-Age Romance #85-86 (1962)
  • Tex Morgan #4 (1949)
  • Thunderbolts Annual '97 (among others) (1997)
  • The Tomb of Dracula #1–70 (1972-1979)
  • The Tomb of Dracula magazine #3–6 (1979-1980)
  • The Tomb of Dracula vol. 3 #1-4 (1991-1992)
  • Tower of Shadows #3–4, 6 (1970)
  • True Life Tales #1 (1949)
  • True Secrets #38 (1956)
  • True Western #1 (1949)
  • Two-Gun Kid #49 (1959)
  • Two-Gun Western #4–5 (1956)
  • Uncanny Tales #11, 16-17, 45, 49, 52 (1953-1957)
  • Unknown Worlds of Science Fiction #1, 3, 5-6 (1975)
  • Venus #12 (1951)
  • War Action #14 (1953)
  • War Adventures #6-7 (1952)
  • War Combat #3 (1952)
  • War Comics #1, 4, 28, 31, 34-36, 39, 41, 44-49 (1950-1957)
  • Western Gunfighters #20, 25-27 (1956-1957)
  • Western Outlaws #5, 10-11, 17, 20 (1954-1957)
  • What If (Fantastic Four) #21 (1980)
  • Wild #4 (1954)
  • Wild West #2 (1948)
  • Wild Western #49 (1956)
  • Wolverine #9, 24 (1989–1990)
  • World of Fantasy #10 (1958)
  • World of Mystery #6 (1957)
  • Young Hearts #2 (1950)
  • Young Men on the Battlefield #14–15, 20 (1952–1953)

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Ziff-Davis Publishing

  • Lars of Mars #10–11 (1951)

References

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Further reading

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