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Captain Marvel app. (10/78) COMIC BOOK IMPACT rating of 5 (CBI)



Artists Information

Terry Kevin Austin is an American comic book artist who is best known for his exceptional inking talents. Austin’s inking — especially in the period of the 1970s and early 1980s — is notable for its smooth, precise rendering; and extremely detailed backgrounds, making his embellishing work easily identifiable. His style has been highly influential on a subsequent generation of inkers including Al Gordon, Andy Lanning, Scott Williams and Rob Liefeld. Austin grew up in Detroit, Michigan and attended Wayne State University. He started inking comics as an assistant to Dick Giordano and Neal Adams, doing “Crusty Bunker” work for Adams’ Continuity Associates. Austin came to prominence in 1976–1977, inking Marshall Rogers’ pencils on a celebrated run of Batman stories for DC Comics’ Detective Comics collaborating with writer Steve Englehart. During this same period, Austin inked Michael Netzer (Nasser) on DC’s Martian Manhunter in Adventure Comics and Green Arrow/Black Canary in World’s Finest Comics, as well as Al Milgrom on Marvel Comics’ Captain Marvel. He later teamed with Rogers again on Marvel’s Doctor Strange. X-Men In 1977, Austin and penciler John Byrne became the new art team on Uncanny X-Men. With writer Chris Claremont they produced a series of stories — particularly “The Dark Phoenix Saga” — which elevated the title into the top-selling American comic book. Post X-Men Austin left Uncanny X-Men in 1981 and has since worked on a variety of titles for both Marvel & DC, including Doctor Strange (over Paul Smith and Dan Green pencils), Superman vol. 2 (over Byrne), Justice League (over Kevin Maguire) and Green Lantern (over Darryl Banks). Austin contributed to several anniversary issues for DC including Justice League of America #200 (March 1982), Superman #400 (Oct. 1984) and Batman #400 (Oct. 1986). He was the regular inker of DC’s Superman Adventures for nearly six years, from 1996–2002. His inking work since 2002 has included over fifteen years of inking the Sonic the Hedgehog comic book series for Archie Comics, which he continued until the series cancellation in 2017.

Pablo Marcos Ortega, known professionally as Pablo Marcos (born March 31, 1937), is a comic book artist and commercial illustrator best known as one of his home country, Peru’s, leading cartoonists and for his work on such popular American comic characters as Batman and Conan the Barbarian, particularly during the 1970s. His signature character was Marvel Comics’ the Zombie, for which Marcos drew all but one story in the black-and-white horror-comics magazine Tales of the Zombie (1973-1975). Pablo Marcos was born in the small town of Laran, Chincha Alta, Peru, and moved with his family to the capital, Lima at age five. His parents, Pablo (a taxi and gasoline-truck driver) and Maria Ortega Marcos, had four children at the time: Gloria, Berta, Pablo, and Manuel, later to be joined by Alfredo (who would become a cartoonist and caricaturist in Peru as an adult) and Oswaldo. While at the Bartolomé Herrera high school, Marcos studied under teacher and artist Juan Rivera Saavedra, who introduced him to the works of Argentine, Chilean, Italian and American comic artists such as Alberto Breccia, Arturo del Castillo, Hal Foster, Burne Hogarth, Hugo Pratt, Alex Raymond and Jose Luis Sallinas, among many others. Political cartoonist Julio Fairle had Marcos fill-in for him with spot illustrations in the influential Latin American newspaper La Prensa, which led to more newspaper work. Marcos later contributed caricatures to such weekly political magazines as Rochabus and Zamba Canuta while still an economics major at Peru’s University of Lima. During the 1960s, Marcos drew such comic strips as Benito Puma and James Bond 007 in Peruvian newspapers. He became art director of the newspaper Expreso, working as well on its evening edition, Extra, and a weekly supplement, Estampa. Marcos became nationally known in 1965, following his illustrations for the trial and execution by firing squad of a convicted rapist. This wider recognition led to advertising artwork and high-profile political, news and sports illustration. He began freelancing for the Mexican publishing company Editorial Novaro and in 1968 moved with his family to Mexico. Marcos moved to New Jersey in the U.S. in the 1970s. Warren Publishing art director Billy Graham assigned him his first American-comics work, penciling and inking the six-page story “The Water World”, by writer Buddy Sounders, in Warren’s black-and-white horror-comics magazine Creepy #39 (May 1971). After another Creepy story and one in companion magazine Eerie that year, Marcos drew comics exclusively for rival Skywald Publications’ Nightmare and Psycho from May 1972 to May 1973 cover-dates. Skywald co-founder Sol Brodsky introduced Marcos to fellow Peruvian artist Boris Vallejo, who became a mentor. When Brodsky, who had been Marvel Comics’ production manager, left Skywald to return to Marvel, he brought Marcos along as an artist and later his staff assistant for roughly two months. Marcos began drawing covers for Marvel UK titles featuring such characters as Captain Britain, Dracula as well as working on “Planet of the Apes”. Marcos’ naturalistic, “illustrative” style, similar to that of Neal Adams, became a mainstay of Marvel’s black-and-white horror-comics magazines Dracula Lives!, Monsters Unleashed, Tales of the Zombie, Vampire Tales and others. The exposure afforded by industry leader Marvel made Marcos a popular artist of the 1970s. His first color-comics work in the U.S. was the cover of Marvel’s Giant-Size Dracula #2 (Sept. 1974). Marcos’ color-comics interior-art debut came at publisher Martin Goodman’s short-lived Atlas/Seaboard Comics, illustrating the sword-and-sorcery title Iron Jaw #3 (May 1975). He went on to draw the following issue, plus the Iron Jaw story in Barbarians #1 and the cover of The Brute #3 (both July 1975) before the company folded. Marcos next freelanced for DC Comics, drawing Man-Bat stories in Detective Comics and working on an issue or two each of series including Freedom Fighters, Kamandi, Kobra, Secret Society of Super-Villains and Teen Titans before returning to Marvel to do art for issues of The Avengers, The Mighty Thor and other comics. In 1980, Marcos additionally freelanced for an Italian comic-book series, Tremila Dollari per Ebenezer Cross Western Story, and created the series “Dragon” for the Mexican magazine Ejea. By the early 1980s, Marcos was at work at what would become one of his signature characters, inking penciler John Buscema on Conan the Barbarian comic books, the black-and-white magazine The Savage Sword of Conan and the newspaper comic strip. Marcos reduced his workload in September 1985 in order to tend to his severely ill wife. Marcos later illustrated a long run of DC's TV tie-in series Star Trek: The Next Generation through the early 1990s and again from 1993–1994. His last known comics penciling for several years was the 14-page painted story “Om”, scripted by Ron Fortier from a Marcos plot, in Quantum Cat Entertainment’s Frank Frazetta Fantasy Illustrated #7 (July 1999). He returned as an inker two years later on a handful of issues of CrossGen’s Ruse, Mystic, Crux, and Silken Ghost through 2003, and once again did penciling from 2006 to 2008, on comics including Dynamite Entertainment’s Red Sonja and Savage Tales.