Jim Steranko

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Jim Steranko
Birth name	James Steranko
Born	November 5, 1938 (1938-11-05) (age 69) Reading, Pennsylvania
Nationality	American
Area(s)	Illustrator; Writer; Publisher
Notable works	Nick Fury, Agent of S.H.I.E.L.D.

James Steranko (born 5 November 1938,^[1] Reading, Pennsylvania, United States) is an American graphic artist, comic book writer-artist-historian, publisher and film production illustrator. His most famous comic-book work was with the 1960s superspy feature "Nick Fury, Agent of S.H.I.E.L.D." in Marvel Comics' Strange Tales and in the subsequent eponymous series. Steranko earned lasting acclaim for his innovations in sequential art during the Silver Age of comic books, particularly his infusion of surrealism, op art, and graphic design into the medium. His work has been published in many countries and his influence on the field has remained strong since his comics heyday. He was inducted into the Comic Book Hall of Fame in 2006.

Contents 1 Biography 1.1 Early life and career 1.2 Breaking into comics 2 Silver Age Steranko 3 Publisher and paperback-artist 4 Film work 5 Recent work 6 Awards and honors 6.1 Awards 6.2 Exhibitions 7 Homages 8 Quotes 9 Bibliography: Comic books 10 Bibliography: Author 11 Bibliography 11.1 Books about 11.2 Collected works 11.3 Book covers 11.3.1 Pyramid Books 11.3.2 Other 12 Footnotes 13 References 14 External links

[edit] Biography

[edit] Early life and career

According to his authorized biography, Jim Steranko's grandparents emigrated from the Ukraine to settle in the anthracite coal-mining region of eastern Pennsylvania. Steranko's father, one of nine siblings, began working in the mines at age 10, and as an adult became a tinsmith. Steranko's early childhood, during the American Great Depression, was spent in a three-room house with a tar-paper roof and outhouse toilet facilities. He slept on a couch in the nominal living room until he was more than 10 years old.^[2] Steranko's father and five uncles showed musical inclination, performing in a band that played on Reading radio in the 1930s, Steranko has said.^[3]

Steranko began drawing while very young, opening and flattening envelopes from the mail to use as sketch paper. Despite his father's denigration of Steranko's artistic talent and the boy's ambition to become an architect, Steranko paid for his art supplies by collecting discarded soda bottles for the bottle deposit and bundled old newspapers to sell to scrap-paper dealers. He studied the Sunday comic strip art of Milton Caniff, Alex Raymond, Hal Foster, and Chester Gould, as well as the characters of Walt Disney and Superman, provided in "boxes of comics" brought to him by an uncle. Radio programs, Saturday movie matinées and serials, and other popular culture of the time also influenced him.^[4][5]

He learned stage magic using paraphernalia from his father's stage magician act, and in his teens spent several summers working with circuses and carnivals, working his way up to sideshow performer as a fire-eater and in acts involving a bed of nails and sleight-of-hand. At school, he competed on the gymnastics team, on the rings and parallel bars, and later took up boxing and, under swordmaster Dan Phillips in New York City, fencing.^[6] At 17, Steranko and another teenage boy were arrested for a string of burglaries and car thefts in Pennsylvania.^[7]

Up through his early 20s, Steranko performed as an illusionist, escape artist, close-up magician in nightclubs, and musician, having played in drum and bugle corps in his teens before forming his own bands during the early days of rock and roll.^[8] Steranko, whose first band, in 1956, was called The Lancers, did not perform under his own name, claiming he used pseudonyms to help protect himself from enemies^[9] He also claims to have put the first go-go girls onstage.^[10] The seminal rock and roll group Bill Haley and his Comets was based in nearby Philadelphia, Pennsylvania, and Steranko, who played a Jazzmaster guitar, often performed in the same same local venues, sometimes on the same bill, and became friendly with Haley guitarist Frank Beecher, who became a musical influence.^[11]

During the day, Steranko made his living as an artist for a printing company in his hometown of Reading, designing and drawing pamphlets and flyers for local dance clubs and the like. He moved on after five years to join an advertising agency, where he designed ads and drew products ranging from "baby carriages to beer cans".^[5]

[edit] Breaking into comics

After first attempting to find work at Marvel Comics in 1965, Steranko instead entered the comics industry with Harvey Comics, landing assignments under editor Joe Simon, who was "trying to create a line of super heroes within a publishing company that had specialized in anthropomorphic animals."^[5] For Simon and Harvey Comics, Steranko created (or helped create) and wrote the characters Spyman, Magicmaster and the Gladiator for the company's short-lived superhero line, Harvey Thriller. Shortly afterward, he showed his "Secret Agent X" proposal to Paramount Television's animation unit in New York City (nothing became of it), and met with Marvel editor Stan Lee. Steranko inked a two-page Jack Kirby sample of typical "Nick Fury" scenes (first published in 1970 by Supergraphics in the extremely limited edition "Steranko Portfolio One" and then again thirty years later in slightly altered form in the 2000 trade-paperback collection Nick Fury, Agent of S.H.I.E.L.D.; see "Collected works", below), leading to Lee's assigning him the "Nick Fury" feature in Strange Tales, a "split book" shared each issue with another feature.

Future Marvel editor-in-chief Roy Thomas, then a staff writer, recalled Steranko's arrival at Marvel:

“

I met Jim [in 1965]; he brought his work up to Marvel then, I think, but it wasn't considered quite pro quality yet. The next year ... he came up to the office again — I presume he had an appointment — and I was sent out by Sol [Brodsky] to look at his work and basically brush him off. Stan was busy and didn't want to be bothered that day. But when I saw Jim's work, which was even better than what I'd seen the previous year, on an impulse I took it in to Sol and said, 'I think Stan should see this'. Sol agreed, and took it in to Stan. Stan brought Steranko into his office, and Jim left with the 'S.H.I.E.L.D.' assignment. ... I think Jim's legacy to Marvel was demonstrating that there were ways in which the Kirby style could be mutated, and many artists went off increasingly in their own directions after that.[12]

”

[edit] Silver Age Steranko

The 12-page "Fury" strip was initially by Lee and Jack Kirby, with the latter supplying such inventive and enduring gadgets and hardware as the Helicarrier — an airborne aircraft carrier — as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel's all-purpose terrorist organization HYDRA was introduced here as well.

Steranko, hired as an unknown commodity with "little experience in comics" began his stint on the feature by penciling and inking "finishes" over Kirby layouts in Strange Tales #151 (Dec. 1966), just as fellow new Marvel artist John Buscema had done on the issue prior.^[13] Steranko also began drawing the every-other-issue "Nick Fury" cover art two issues later (also initially over Kirby layouts), and, in a rarity for comics artists, took over the series' writing with #155, after Lee was initially replaced by Roy Thomas. He additionally became the uncredited colorist along the way.

"Nick Fury, Agent of S.H.I.E.L.D." soon became one of the creative zeniths of the Silver Age, and one of comics' most groundbreaking, innovative and acclaimed features. Ron Goulart, in his Comix: A History of Comic Books in America, wrote, "[E]ven the dullest of readers could sense that something new was happening. ... Which each passing issue Steranko's efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings [that] ignored panel boundaries and instead worked together on planes of depth. The first pages ... became incredible production numbers similar in design to the San Francisco rock concert poster of the period".^[14]

Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the "aesthetic of Dali," with inspiration from Richard Powers, ultimately synthesizing a style he termed "Zap Art."^[15][5] He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in Strange Tales #167 (Jan. 1968), Steranko created comics' first four-page spread, upon which panorama he noted that:

"to get the full effect, of course, requires a second ish [copy of the issue] placed side-by-side, but we think you'll find it to be well worth the price to have the wildest action scene ever in the history of comics!"^[16][17]

All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. And he created his own version of Bond girls, pushing what was allowable under the Comics Code at the time.^[18]

Steranko "combined the figurative dynamism of Jack Kirby with modern design concepts", wrote Larry Hama. When Steranko took over the series, he recostumed Fury from suits and ties to "a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the Avengers TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages — and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension".^[19]

Fury's adventures continued in his own series, for which Steranko contributed four much-reprinted 20-page stories: "Who is Scorpio?" (issue #1); "So Shall Ye Reap...Death" (#2), inspired by Shakespeare's The Tempest; "Dark Moon Rise, Hell Hound Kill" (#3), a Hound of the Baskervilles homage, replete with a Peter Cushing manqué; and the spy-fi sequel "What Ever Happened to Scorpio?" (#5). Yet after deadline pressures forced a fill-in "origin" story by another team in issue #4 (and the aforementioned Comics Code-derived censorship), Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics' best known, and homages to his art have abounded — from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. (See "Homages", below.)

Steranko also had short runs on Captain America (three issues out of four, missing a deadline that required Kirby to draw an issue over a weekend) and X-Men, for which he designed a new cover logo. Steranko also dabbled with a romance story, as well as a horror story — "At the Stroke of Midnight", published in Tower of Shadows #1 (Sept. 1969) — that precipitated a breakup with Marvel. Though that seven-page story would go on to win a 1969 Alley Award, editor Lee, who had already rejected Steranko's cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially "The Lurking Fear at Shadow House". According to Steranko at a 2006 panel^[20] and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down, and Steranko would return as a cover artist for Marvel from 1972-73 and also created a new fan club magazine (FOOM) for Marvel which he produced in its first year.

Steranko gradually withdrew from comics between 1969 and 1974. Projects such as the history of comics and his own publishing efforts took up more and more of his time.

[edit] Publisher and paperback-artist

Writing, penciling, inking and coloring his own work, Steranko was unable to meet the monthly publication deadlines of the comics business of the time. For these and other reasons, he gravitated away from the rigours of producing full monthly comics in favour of covers and special projects. Never thinking of himself exclusively as a comics artist, he branched into other areas of publishing, including most notably bookcover illustration. Lacking any experience as a painter, his decision to effectively quit comics in 1969 led him to "an artist friend who earned his living as a painter," from whom Steranko obtained an "hour-long lecture," and the suggestion that he work in acrylics rather than oils, for the sake of speed.^[5] From these inauspicious beginnings, he compiled a portfolio of half-a-dozen paintings ("two Westerns, two pin-up girls, two gothic horror and one sword-and-sorcery"^[5]) and met with Lancer Books' art director Howard Winters, to whom he immediately sold his fantasy piece. This led to a career illustrating dozens of paperback covers, popularly including those of Pyramid Books' reissues of the 1930s pulp novels of The Shadow.

Steranko also formed his own publishing company, Supergraphics, in 1969, and the following year worked with writer-entrepreneur Byron Preiss on an anti-drug comic book, The Block, distributed to elementary schools nationwide. In 1970 and 1972, Supergraphics published two tabloid-sized volumes entitled The (Steranko) History of Comics, a planned six-volume history of the American comics industry, though no subsequent volumes have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one The Spirit story by Will Eisner, it included some of the first and in some cases only interviews with numerous creators from the 1930s and 1940s Golden Age of Comic Books.

Other ideas for Supergraphics work included the proposed Talon the Timeless (which ultimately "ended up in a portfolio published in WIZARD magazine #5"^[5]), and a calendar of pin ups.

“

Initially unsure as to how to make the project unique and innovative but also commercially viable, he found an answer in the form of The Supergirls, which unified his two favorite subjects. The twelve illustrations were comprised of feminine versions of some of the most famous super heroes (among them Captain America and Green Lantern) posing in pin-up style.[5]

”

Through Supergraphics he also published the magazine Comixscene (retitled Mediascene and finally Prevue), which began as a folded-tabloid periodical on stiff, non-glossy paper, reporting on the comics field. It evolved in stages into a general-interest, standard format, popular culture magazine, running from 1972 through 1994. In its later years, it was criticized for doing double duty as a catalog for Steranko's retailing business, particularly its erotica.

Steranko's association with Marvel did not cease entirely during this period. He produced a small number of covers, including Shanna the She-Devil #1 and #2 (Dec 1972 and Feb 1973), Tex Dawson, Gunslinger#1 (Jan 1973) and Creatures on the Loose #21 and 22 (January and March 1973).^[5][21]

In 1973, Steranko became founding editor of Marvel's official fan magazine, FOOM, which superseded previous fan clubs (including the Merry Marvel Marching Society). Steranko served as editor and also produced the covers for the magazine's inaugural four issues before being succeeded editorially by Tony Isabella.^[22] (He had previously been associated with similar Marvel endeavours, producing two (of twelve) posters for the company's earlier in-house fanzine Marvelmania.)

Occasionally returning to the full-blown narrative form, Steranko wrote, drew, and produced the illustrated novel Chandler: Red Tide (1976) for Byron Preiss Visual Publications/Pyramid Books.

[edit] Film work

For the movie industry, Steranko has produced a number of posters for various films, and was a conceptual artist on Steven Spielberg's Raiders of the Lost Ark (1981), doing production designs for the film and designing the character of Indiana Jones.^[23] He also served in a similar capacity as project conceptualist on Francis Ford Coppola's Bram Stoker's Dracula (1992) and wrote the episode "The Ties That Bind" of the DC Comics animated TV series Justice League Unlimited.

He has "amassed an enormous portfolio of more than sixty projects (which he called the "Theater of Concepts") designed to be seen in multimedia form^[5], drew the comic-book adaptation of the 1981 film Outland, which was serialized in Heavy Metal magazine. The lighthearted spy movie If Looks Could Kill (1991) features Roger Rees as the villain, Augustus Steranko, and director Brad Bird has stated that Steranko's work was his main comic-book influence on Pixar's The Incredibles.^{[citation needed]}

[edit] Recent work

Steranko's book covers continue to adorn such titles as the 2007-present Baen Books pulp-reprints of The Spider, for which he also provides interior illustration(s). The press release for The Spider: Robot Titans of Gotham drew particular note to his history as "comics legend and Pulpcon Guest of Honor, who has previously done covers for revivals of G8, The Shadow and Doc Savage."^[24] Further volumes with Steranko-involvement are planned.^[25]

His forays back into the world of comics are rarer - a reported 1997 attempt to negotiate Steranko's return to S.H.I.E.L.D. did not bear fruit^[5] - and are limited almost entirely to occasional covers and pin-ups. Among them are a notable variant cover to David Mack's Image (later Icon Comics) series Kabuki #1 (Oct, 1997).^[26]

[edit] Awards and honors

[edit] Awards

Steranko has won awards in fields as varied as magic, comics and graphic design. A partial list includes:

• In addition to himself being inducted into the Comic Book Hall of Fame in 2006, Steranko's series Nick Fury, Agent of S.H.I.E.L.D. was inducted, along with Stan Lee & Jack Kirby's Fantastic Four, into comic fandom's Alley Award Hall of Fame in 1969.
• That same ceremony, Steranko took three 1968 Alley Awards, for Best Pencil Artist, Best Feature Story ("Today Earth Died", Strange Tales #168; first page depicted above), and Best Cover (Nick Fury, Agent of S.H.I.E.L.D. #6).
• The following year, he won 1969 Alley Awards for Best Feature Story ("At the Stroke of Midnight", Tower of Shadows #1) and Best Cover (Captain America #113).
• The DragonCon's Julie Award (2003)^[27]

[edit] Exhibitions

Steranko's work has been exhibited internationally in more than 160 shows.^[5] Among others, his work has been shown in the following locations:

• The Louvre Museum, Paris, France (1967)
• The Winnipeg Art Gallery, Winnipeg, Manitoba, Canada (1978)
• The Sydney Opera House, New South Wales, Australia (January, 1986)

[edit] Homages

Trivia sections are discouraged under Wikipedia guidelines. The article could be improved by integrating relevant items and removing inappropriate ones.

• Steranko's youthful career as an escape artist was an inspiration for the Jack Kirby character Mister Miracle, as well as for the Escapist (from Michael Chabon's Pulitzer Prize winning novel The Amazing Adventures of Kavalier & Clay. ^{[8] [28] [29]}
• The three-page opening sequence of the Civil War-tie-in-issue, Captain America #23 (2005 series) (Dec. 2006) by Mike Perkins is a panel-by-panel homage to writer-artist Steranko's Nick Fury, Agent of S.H.I.E.L.D. #1 (June 1968).
• The Simpsons paid homage to parts of that same sequence, as well as to the splash page of "If Death Be my Destiny" in Strange Tales #166 (March 1968), in the Krusty the Klown parody "Krusty, Agent Of K.L.O.W.N." in Simpsons Comics #3 (March 1994).
• The splash page of the unpublished Wraitheart #4, from Marvel Comics' Razorline imprint, was an homage to Steranko's cover for ''Nick Fury, Agent of S.H.I.E.L.D. #6 (Nov. 1968) — itself Steranko's homage to Wally Wood. Steranko himself would replicate this cover for DC Comics with Superman in Fury's place.
• The fires of Hell Ditch seen in Top 10 (comic book) sequel "Beyond the Farthest Precinct" read "HEY A JIM STERANKO EFFECT". The same homage had previously been done by Neal Adams in his "Deadman" series for DC.

[edit] Quotes

Steven Ringgenberg: "Steranko's Marvel work became a benchmark of '60s pop culture, combining the traditional comic book art styles of Wally Wood and Jack Kirby with the surrealism of Richard Powers and Salvador Dalí. Steeped in cinematic techniques picked up from that medium's masters, Jim synthesized a style he christened 'Zap Art' — an approach different from anything being done in mainstream comics, though it did include one standard attraction: lots of females in skintight, sexy costumes. Countess Valentina (Val) Allegro De Fontaine (sic) made her debut in Strange Tales #159 (Aug. 1967) by flooring Nick Fury during a training session, proving that she could take care of herself! She looked like a character who had just stepped out of a James Bond poster".^[30]

Mark Evanier: "Jack based some of his characters (not all) on people in his life or in the news.... Big Barda's roots are not in doubt. The visual came about shortly after songstress Lainie Kazan posed for Playboy...and the characterization between Scott 'Mr. Miracle' Free and Barda was based largely — though with tongue in cheek — on the interplay betwixt Jack and his wife Roz. Of course, the whole 'escape artist' theme was inspired by an earlier career of writer-artist Jim Steranko".^[28]

[edit] Bibliography: Comic books

Chronological order. Artwork for Marvel Comics unless otherwise noted.

• Spyman  #1 (Sept. 1966; Harvey Comics) (designed character, wrote story, penciled contents page, illustrated hand-design box on cover)^[31]
• Spyman  #2 (Dec. 1966; Harvey Comics) (wrote and partly penciled story "The Hand Is Quicker than the Monster")^[32]
• Double-Dare Adventures  #1 (Dec. 1966; Harvey Comics) (wrote and partly penciled story "Legend of the Glowing Gladiator", possibly penciled intro page, possibly wrote story "The Secret of Magicmaster")^[33]
• Strange Tales  #151-153 (over Jack Kirby layouts), #154-168; odd-number covers from #151 (inker only), #153-167 (Dec. 1966 - May 1968)
• Nick Fury: Agent of S.H.I.E.L.D.  #1-3, 5, plus covers; covers only, #4,6-7 (June-Dec. 1968)
• The Incredible Hulk King-Size Special  cover only #1 (Oct. 1968) (Hulk head redrawn by Marie Severin)^[34][35]
• Daredevil  cover inking only, #44 (Sept. 1968)
• X-Men  50-51, plus covers; cover only, #49 (Oct.-Dec. 1968)
• Captain America  #110-111, 113, plus covers (Feb.-March, May 1969)
• Tower of Shadows  #1, story "At the Stroke of Midnight" (7pp.) (Sept. 1969)
• Eerie  cover only, #25 (Warren Publishing; Jan. 1970)
• Our Love Story  #5, story "My Heart Broke in Hollywood" (7pp.) (Feb. 1970)
• Doc Savage  covers only, #2-3 (Dec. 1972-Feb. 1973)
• Shanna the She-Devil  covers only, #1-2 (Dec. 1972-Feb. 1973)
• Supernatural Thrillers  covers only, #1-2 (Dec. 1972-Feb. 1973)
• Tex Dawson, Gunslinger  cover only, #1 (Jan. 1973)
• Fantastic Four  covers only, #130-132 (Jan.-Mar. 1973)
• Creatures on the Loose  covers only, #21-22 (Jan.-March 1973)
• Nick Fury and His Agents of S.H.I.E.L.D.  covers only #1-2 (Feb. & April 1973)
• Western Gunfighters  cover only, #14 (March 1973)
• FOOM  cover only #2 (Summer 1973) (also incidental art, #1-4, Feb. 1973 - Winter 1974)
• The Illustrated Harlan Ellison   3-D story "'Repent, Harlequin!' Said the Ticktockman" (10pp.) (Baronet Publishing; December 1978)
• Marvel Comics Super Special  magazine, cover only #22 (Blade Runner; Sept. 1982)
• Heavy Metal  magazine, vol. 5, #3-7, 10 (HM Communications; June-Oct. 1981, Jan. 1982) - Serialized Outland movie adaptation
• The Fly  covers only, #1-2 (Archie Comics; May-July 1983)
• Epic Illustrated  cover only #19 (Aug. 1983)
• Superman  #400, story "The Exile at the End of Eternity" (10pp.) (DC Comics; Oct. 1984)
• Nick Fury vs. S.H.I.E.L.D.  cover only, #1 (June 1988)
• The Green Hornet  cover only, #1 (Now Comics, Nov. 1989)
• The Superman Gallery  one-shot, pinup (1p.) (DC Comics; 1993)
• Ray Bradbury Comics: Martian Chronicles  cover only, 1 (Topps Comics/Byron Preiss Visual Publications,, June 1994)
• Kabuki  cover only, #1 (Image Comics, 1997)
• The Victorian  cover only, #1 (Penny-Farthing Press; March 1999)
• Selina's Big Score  pinup , #1 (DC Comics; July 2002)
• Hercules - The Thracian Wars  cover only , #1 (Radical Comics; May 2008)

[edit] Bibliography: Author

• Steranko on Cards (Ireland Magic Company, 1960)
• The Steranko History of Comics 1 (Supergraphics, 1970, ISBN 0-517-50188-0; also wraparound cover)
• The Steranko History of Comics 2 (Supergraphics, 1972; also wraparound cover)
• Chandler: Red Tide (Byron Preiss Visual Publications/Pyramid Books, (1976)
• Unseen Shadows: 50 Cover Concept Illustrations (Supergraphics, 1978)
• Domino Lady: The Complete Collection (Vanguard Productions 2004, ISBN 1-887591-70-2)

[edit] Bibliography

[edit] Books about

• Steranko: Graphic Narrative by Philip Fry & Ted Poulos; introduction and illustrations by Jim Steranko (Winnipeg Art Gallery exhibit publication, 1978)
• Steranko: Graphic Prince of Darkness by Jim Steranko, J. David Spurlock, Peter DePree (Vanguard Productions, 1997).
• Steranko Arte Noir by Jim Steranko, J. David Spurlock, Angel de la Calle (Vanguard Productions/Semana Negra, 2002)^[36]
• Visual Theory: The Steranko Archives, Volume 1 (2003)
• Visual Storytelling: The Art and Technique (2003)

[edit] Collected works

• Nick Fury, Agent of S.H.I.E.L.D. (Marvel Enterprises, 2000; ISBN 0-7851-0747-9)
• Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio? (Marvel Enterprises, 2001; ISBN 0-7851-0766-5)
• Marvel Visionaries: Jim Steranko (Marvel Enterprises, 2002; ISBN 0-7851-0944-7)

[edit] Book covers

• Prisoners of the Sky by C. C. MacApp (pseudonym of Carroll M. Capps) (1969; science fiction)
• The Mighty Barbarians: Great Sword and Sorcery Heroes, Hans Stefan Santesson, ed. (1969)
• Ice World (1969; science fiction)
• Why Isn't a Nice Girl Like You Married? or How to Get Most Out of Life While You're Single by Rebecca Greer (1970; self-help)
• Master Of The Dark Gate by John Jakes (1970) ISBN 1199154598
• Kelwin by Neal Barrett, Jr.(1970)
• Fletcher by Jack Bickham (1970) (Western)
• Wildcat O'Shea: A Stranger Named O'Shea (1970) by Jeff Clinton (Western)
• Lord of Blood by Dave Van Arnam (1970; sword-and-sorcery)
• The Mighty Swordsmen, Hans Stefan Santesson, ed. (1970)
• G-8 and His Battle Aces #1: The Bat Staffel by Robert J. Hogan (1970; World War I)
• G-8 and His Battle Aces: Ace of the White Death by Robert J. Hogan (1970)
• G-8 and His Battle Aces: Purple Aces by Robert J. Hogan (1970)
• Warlocks and Warrior, L. Spague de Camp, ed. (1971; sword-and-sorcery)
• Wildcat O'Shea: Bounty on Wildcat (1971) by Jeff Clinton (Western)
• Wildcat O'Shea: Wildcat's Claim To Fame (1971) by Jeff Clinton
• The Shores Of Tomorrow by David Mason (1971; science fiction)
• Infinity Two by Robert Hoskins (1971; science fiction)
• The Masters of the Pit a.k.a. Barbarians of Mars by Michael Moorcock (1971; science fiction)
• The Further Adventures of Erik John Stark: The Ginger Star by Leigh Brackett (1974; sword-and-sorcery) ISBN 0-345-31827-7
• The Further Adventures of Erik John Stark 2: The Hounds Of Skaith by Leigh Brackett (1974) ISBN ISBN 0-345-24230-0
• The Further Adventures of Erik John Stark 3: The Reavers of Skaith by Leigh Brackett (1976) ISBN 0-345-24438-9
• Police Your Planet by Lester Del Rey with Erik van Lhin (1975; [[science fiction)) ISBN 0-345-24465-6
• Weird Heroes Volume 1 (1975; pulp-inspired anthology) ISBN 0-515-03746-X
• Weird Heroes Volume 2 (1975; pulp-inspired anthology)
• Norgil the Magician by Maxwell Grant (pseudonym of Walter Gibson) (1977 reprints of pulp magazine stories) ISBN 0-89296-006-X
• Norgil: More Tales of Prestigitection by Maxwell Grant (1979 reprints of pulp magazine stories) ISBN 0-89296-042-6
• Tomorrow I Die by Mickey Spillane (1984) ISBN 0-89296-061-2
• Blade of the Guillotine (1986)
• Death Mask of Pancho Villa (1987)
• Wild Cards XVI: Deuces Down, ed. by George R.R. Martin and Melinda Snodgrass (2002)
• Swords and Deviltry 1 : Fafrd and the Gray Mouser (2003)
• Swords against Death 2 : Fafrd and the Gray Mouser (2003)
• Swords in the Mist/Swords against Wizardry 3/4 : Fafrd and the Gray Mouser (2004)
• Meth o d, by Clifford Meth (2006)

[edit] Pyramid Books

The Shadow (reprints of pulp-magazine stories)
By Maxwell Grant (pseudonym of Walter Gibson)

• The Shadow #1: The Living Shadow (1974) ISBN 0-515-03597-1
• The Shadow #2: The Black Master (1974) ISBN 0-515-03478-9
• The Shadow #4: Hands in the Dark (1974)
• The Shadow #5: Double Z (1975)
• The Shadow #6: The Crime Cult (1975) ISBN 0-515-03699-4
• The Shadow #9: The Romanoff Jewels (1975) ISBN 0-515-03877-6
• The Shadow #10: The Silent Seven (1975) ISBN 0-515-03966-7
• The Shadow #11: Kings of Crime (1976)
• The Shadow #12: Shadowed Millions (1976) ISBN 0-515-03968-3
• The Shadow #13: Green Eyes (1977) ISBN 0-515-04205-6
• The Shadow #14: The Creeping Death (1977) ISBN 0-515-04206-4
• The Shadow #16: The Shadow's Shadow (1977) ISBN 0515042781
• The Shadow #17: Fingers Of Death (1977) ISBN 0-515-04279-X
• The Shadow #18: Murder Trail (1977) ISBN 0-515-04280-3
• The Shadow #19: Zemba (1977) ISBN 0-515-04285-4
• The Shadow #20: Charg, Monster ISBN 0-515-04284-6
• The Shadow #21: The Wealth Seeker (1978) ISBN 0-515-04283-8
• The Shadow #22: The Silent Death (1978)
• The Shadow #23: The Death Giver (1978)
• The Shadow #1: The Living Shadow (1978) (Different from 1974 edition)
• The Shadow #9: The Romanoff Jewels (1978) (Different from 1975 edition)
• The Shadow #11: Kings of Crime (1978) (Different from 1976 edition)
• The Shadow #12: Shadowed Millions (1978) (Different from 1976 edition)

[edit] Other

• The Revenge of the Hound: The New Sherlock Holmes Novel by Michael Hardwick (1987; mystery) ISBN 0-394-55653-4
• Palladium Books Presents: Mystic China by Erick Wujcik (1995) ISBN 0-916211-77-0
• The Little Sister by Raymond Chandler (1997)
• Heroes Unlimited: Second Edition (1998)
• Captain America: Liberty's Torch (1998)
• The Bride Wore Black (2001)
• Phantom Lady (2001)
• Rear Window (2001)
• Night and the City (2001)
• Visual Storytelling: The Art and Technique by Tony C. Caputo; introduction by Harlan Ellison (2003) ISBN 0-8230-0317-5
• Compliments of the Domino Lady by Lars Anderson (2004 reprints of pulp-magazine stories) ISBN 0-9712246-6-8
• The Edge (2004)
• Domino Lady: The Complete Collection by Lars Anderson (2004) ISBN 1-887591-69-9
• Domino Lady: The Complete Collection Deluxe by Lars Anderson (2004; signed limited edition) ISBN 1-887591-70-2
• Drifter's Detour, by Bill Pearson (2006)
• The Spider: Robot Titans of Gotham, by Norvell W. Page (2007)
• The Spider: City of Doom, by Norvell W. Page (2008)

[edit] Footnotes

[edit] References

• Steranko.com
• The Drawings of Steranko
• DragonCon Jim Steranko biography (date and author n.a.)
• Steranko escape artistry illustrations collected by Michael Chabon
• Jim Steranko Cover Art (paperback covers)
• Betty Pages Magazine #4 (Spring 1989): 'A Life Long Love Affair With The Pop Culture Pin Up!" by Steven Ringgenberg
• POV Online: "The Jack FAQ"

[edit] External links

• Vanguard Steranko Page
• WellredPress: "The Inescapable Truth", by Adam Messano
• "Bill Koenig Remembers: 'Don't Yield, Back S.H.I.E.L.D.'"
• Jim Steranko interview, Comic Book Resources (Oct. 10, 2001)
• Dark Horse News: "Jim Steranko: A Biography", by J. David Spurlock
• Jim Steranko at the Internet Speculative Fiction Database