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Al Williamson

 
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Al Williamson

Self-Portrait
Born March 21, 1931 (1931-03-21) (age 78)
New York City
Nationality American
Area(s) Penciller, Inker

Al Williamson (born March 21, 1931) is an American cartoonist, comic book artist and illustrator specializing in adventure, western, and science-fiction/fantasy. His most notable works include his science-fiction/heroic fantasy artwork at EC Comics in the 1950s, Flash Gordon in the 1960s, and the Star Wars film adaptations and newspaper strip in the 1980s, continuing the illustrative tradition of Flash Gordon creator Alex Raymond. Since the mid-1980s, he has been primarily active as an inker, mainly on the Marvel Comics superhero titles on such characters as Daredevil, Spider-Man, and Spider-Girl, having won nine industry awards between 1988 and 1997.

Williamson lives in Pennsylvania with his wife, Cori. He has three children, James, Victor, and Valerie,[1] from two marriages. His first marriage, to Arlene Williamson, a professional letterer and colorist[2], ended with the latter's untimely passing.[3]

Contents

Biography

Early life and career

Al Williamson was born in New York City but moved to Bogotá, Colombia, at the age of two (his father being of Colombian origin). He took an interest in comic strips via the Mexican magazine Paquin at the age of nine (the magazine featured American strips and 'the Underwater Empire by Argentinian cartoonist Carlos Clemen). He later took an interest in Alex Raymond's Flash Gordon strip when his mother took him to see the 'Flash Gordon conquer the universe' movie serial.[4] At this time he met future-cartoonist Adolfo Buylla, who befriended him and gave him advice.[5]

He moved to San Francisco with his mother when his parents divorced; and then to New York. [6]

Late 40s sketch

In the mid-40's began to take art classes with Tarzan cartoonist Burne Hogarth and later at Hogarth's Cartoonists and Illustrators School. There he met future cartoonist's Wallace Wood and Roy Krenkel. According to Williamson: 'Roy broadened my collecting horizons, he became my guide to all the great illustrators - the artists who directly influenced adventure cartoonists like Raymond and Foster. He showed me J.C. Coll, Franklin Booth, Joseph Franke, Dan Smith, Norman Lindsay, Fortunia Matania, and the great Blue Book illustrators like Herbert Morton Stoops and Frank Hoban.' [7]

Chief Victorio Western story by Williamson and Frazetta)

His first professional work was helping Hogarth pencil some Tarzan Sunday pages in 1948.[8] As he continued to learn about the cartooning field, he would visit the offices of Fiction House, a comic book company, where he met artists such as George Evans, Bob Lubbers, John Celardo, and Mort Meskin.[9]

His first professional work in comic books was some spot illustrations for the Famous Funnies title, while his first published strip was a Boy Scout two-pager in Heroic Comics #51. [10] Williamson got to meet his main stylistic influence, Alex Raymond: 'I had just turned eighteen. I had been in the business about six months or so. He gave me about two hours. That was awful nice of him!'[11]

1950s

From 1949 to 1951, Williamson worked on science-fiction and western stories for publishers such as Avon, Toby, Famous Funnies and ACG on such titles as John Wayne and Buster Crabbe. Frank Frazetta often inked his work, with Roy Krenkel often doing backgrounds. [12] Some notable work from that period include 'Chief Victorio's Last Stand, (Apache Massacre, 1951, Avon); 'Skull of the Sorcerer' (Forbidden Worlds #3, 1951, ACG, with Joe Orlando); 'The Invasion from the Abyss (Strange Worlds #3, 1951, Avon);'Death in Deep Space' (Jet#4, 1951, with Wally Wood); 'Maid of Mars' (Buster Crabbe #5, 1952, Famous Funnies). [13]

First page to 'Food for Thought' (Incredible Science-Fiction #32) with Roy Krenkel

In 1952, at the age of 21, upon the suggestion of artists Wally Wood and Joe Orlando,[14] Williamson began working for EC Comics, an influential comic book company with a reputation for its quality artists.[15] While at EC, Williamson frequently collaborated with fellow artists Frank Frazetta, Roy Krenkel and Angelo Torres, a group which, along with Nick Meglin and George Woodbridge, became affectionately known as the 'Fleagle Gang', named after a notorious criminal gang.[16] Williamson primarily worked on EC's science fiction comics Weird Science, Weird Fantasy and Weird Science-Fantasy, but occasionally appeared in their horror and crime comics as well. Williamson worked at EC through 1956 until the cancellation of their Picto-Fiction magazines. Notable works from this period include 'I, Rocket' (Weird Fantasy #20);'A Sound of Thunder' (Weird Science Fantasy #25); 50 Girls 50 (Weird Science#20); 'Food for Thought';(Incredible Science Fiction #32); and 'The Arena' (Valor #1, 1955). [17]

Cover illustration for Ray Bradbury's 'A Sound of Thunder' (Weird-Science Fantasy #25)

From 1955 to 1957, Williamson produced over 400 pages of short stories (3 to 5 pages) for Atlas comics on various titles, the majority being in the western genre. He continued to collaborate with Torres and Krenkel, as well as with Gray Morrow, George Woodbridge and Ralph Mayo.[18] Mayo, one of the first editor's to give Williamson work, at Standard Comics, was offered collaborative work by him and they eventually were given regular feature work on the 'Jann of the Jungle' title (#'s 16 & 17). Williamson was to draw #18 alone due to Mayo's untimely passing. The series ended up being cancelled, and the artwork to #18 wasn't published until forty-seven years later.[19] Notable story artwork includes 'The Hunted'(Two-Gun Kid #25, 1955); 'Helpless' (Battle #55, 1957); 'The Unknown Ones' (Astonishing #57, 1957). [20]

'Helpless' page 3, Battle #55)

From 1958 to 1959 he worked for Harvey comics collaborating with Reed Crandall, Torres and Krenkel and inking the pencils of Jack Kirby (for Race to the Moon #'s 2,3 and Blast-Off #1). On inking Kirby, Williamson relates: 'I remember going up to Harvey and getting work there. They said 'we haven't got any work for you, but we have some stories here that Jack penciled. Do you want to ink them?' I'd never really inked anybody else before, but I said, 'Sure,' because I looked at the stuff, and thought, I can follow this, it's all there. I inked it and they liked it, and they gave me three or four stories to do.' [21] At Harvey, he recommended friend Archie Goodwin for his first comic book writing job.[22] They were to work together often over the next few decades.

Additionally, he drew stories for Classics Illustrated (in collaboration with Crandall and Woodbridge); western stories for Dell (notably Gunsmoke #'s 8-12) and Charlton (including two complete issues of the Cheyenne Kid (#'s 10 & 11) with Angelo Torres that were reputedly drawn in a single overnight session each); and science fiction stories for ACG (notably 'The Vortex', Forbidden Worlds #69, 1958) and Atlas. [23] He also worked with John Severin on the 'American Eagle' feature for 'Prize Comics Western (#'s109, 113, 1955).

Williamson's work during this decade was his most prolific in terms of comic book work and has garnered considerable praise for its high quality.[24] He has been noted for his perfectionism and love for the medium.[25] Despite its high reputation, notably with his E.C. work, it has been remarked that his artwork can at times be uneven and uninspired. [26] Williamson was said to have something of a bohemian and undisciplined lifestyle.[27]

1960s

'The Jungle', p. 1

In 1960, little work to be found in the comic book field due to a downturn in the industry, he went to work as an assistant to John Prentice on the Alex Raymond-created comic strip Rip Kirby for a three-year period.[28] According to Williamson: 'The reason that I was called in to help him out was that John had decided to go to Mexico and Mac (Al McWilliams), John's prior assistant, didn't want to go... The deal was: would I be willing to go to Mexico?... and I said 'Si!'...'[29] It proved to be a solid learning period for Williamson, as he credits Prentice with having taught him many fundamental illustration methods.[30] According to Prentice: '...he was terrific. He's the best guy I ever had by far.'[31]During that time he also assisted John Cullen Murphy on the Big Ben Bolt boxing strip and Don Sherwood on the Dan Flagg strip. He also produced some sample pages for a proposed Sunday strip version of Modesty Blaise [32]

Panel from Flash Gordon #1

He returned to comics in 1965 doing some mystery stories for Gold Key's Boris Karloff(#11), Twilight Zone (#12) and Ripley's Believe It or Not (#1) titles and helped launch the new Warren Publishing titles in 1964 and 1965, drawing for their comic magazines Creepy (#'s 1,2,5,6), Eerie (#'s3, 5) and Blazing Combat (#2). He was instrumental in bringing in other artists from E.C. Comics such as Frazetta, Krenkel, Torres, Crandall, and Evans, as well as artist Gray Morrow and writer/editor Archie Goodwin. [33]

In the 1966, he drew the first issue of a new Flash Gordon comic book which was published by King Features. Williamson's worked received a very positive reader response and he was asked to contribute more work to the title, drawing two more issues (#'s 4, 5). He received a National Cartoonist Society best comic book award for his on that title.[34]

'Savage World', p. 4, with Torres, Krenkel & Frazetta

In 1967, on the strength of a backup feature he had done in the Flash Gordon book, he took over another Alex Raymond creation, the long-running Secret Agent X-9 comic strip with writer Archie Goodwin. At the start of their tenure the name was changed to Secret Agent Corrigan.[35]

Williamson also helped assemble the first major book on Alex Raymond's Flash Gordon published by Nostalgia Press in 1967 and wrote the introduction.[36] He helped young artist Berni Wrightson break into field. [37] 1969 saw the first publication, in witzend #1 (an independent magazine published by Wally Wood), of 'Savage World' a 1956 story originally drawn for a Buster Crabbe comic book that had been cancelled. With significant contributions by Frazetta, Krenkel, and Torres, it is a prime sample of the 'Fleagle Gang' style and has since been reprinted by Marvel Comics, Pacific Comics, and Kitchen Sink Press.[38]

1970s

Secret Agent Corrigan 10-09-73

Williamson worked on Secret Agent Corrigan through the '70s until he left the strip in 1980. The first Corrigan anthology was published in France in 1975, 'Le FBI joue et gagne', reprinting Williamson's first episode on the feature. [39] He would return to Warren in 1976 and again in 1979 to draw three additional stories in 'Creepy' (#'s 83, 86, 112). His stories for Warren were published in France in the collection, 'Al Williamson: A la fin de l'envoi' in 1981. [40]

He drew a few more stories for Gold Key, 'Grimm's Ghost Stories' (#'s 5, 8), 'The Twilight Zone (#51, 1973) as well a two mystery stories for DC comics; 'The Witching Hour' (#14, 1971)with Carlos Garzon; 'House of Mystery (#185, 1970) with Mike Kaluta, who he helped break into the field. [41] He also drew various Flash Gordon illustrations.[42]

Fanzine sketch

In the burgeoning fan movement, Williamson became an early favored collectable artist, and early subject of comic historians with the publication of Jim Vadebonceour's 'Al Williamson- His works' in 1971 and the 'Al Williamson Collector' by James Van Hise, featured in the fanzine, 'RBCC', in the early 70's. Samples of his sketches also began appearing in various 'fanzines' of the period (Heritage, Squa Tront).

1980s

Illustration from Empire Strikes Back adaptation

He illustrated The Empire Strikes Back for Marvel's Star Wars movie adaptation (with Carlos Garzon) as well as the 50th issue of the monthly Star Wars comic. Williamson was Lucasfilms first choice as illustrator for the Star Wars newspaper strip, which he declined to take on. He was offered the Empire Strikes Back adaptation upon Lucasfilm's specific request, as George Lucas had an appreciation of his EC Comics and Flash Gordon work. [43] According to writer Archie Goodwin: 'There was also the comfort of knowing that I would be working with Al Williamson, an old friend that I've worked with over the years. He was absolutely the best Star Wars artist you could ever want to have. That makes it easier because you feel that whatever you do as a writer, you have an artist that will make it look great. He's also an artist that Lucasfilm kind of begged and pleaded for and always wanted to have do Star Wars material. There was that comfort factor in it as well.[44]

Flash Gordon film adaptation cover

He next drew a 3-issue comic book adaptation of the Dino De Laurentiis' Flash Gordon. Al McWilliams inked the backgrounds for the last 25 pages. According to Williamson 'It was the hardest job I ever had to do in my life.' [45]

He then began drawing the Star Wars comic strip following Alfredo Alcala with Archie Goodwin. He drew the daily and Sunday feature until 1983, when the strip was cancelled. Williamson's daily strips on this series were completely reprinted in Russ Cochran's limited three-volume, slipcase edition in 1991.[46]

Returning to the comic-book field full-time for the first time since 1959, he began work for the new Pacifics Comics company, working with writer Bruce Jones for the Alien Worlds title (#'1, 4, 8) , and 'Cliff Hanger', a six-issue adventure strip backup feature in the Somerset Holmes mini-series.

For Marvel, he illustrated the Blade Runner and Return of the Jedi movie adaptations. The two Archie Goodwin stories he illustrated for Epic Illustrated ('Relic' in issue 27,1984; and 'Out of Phase', in issue 34, 1986) have been considered to be some of his finest work. [47] He drew a short story for Time Spirits #4 and the full issue of Star Wars #98. For DC Comics, he drew a short story for Superman #400.

Cover to 'Blade Runner' #1 with Carlos Garzon)

In the mid 80's, Williamson's penciling speed slowed down, and he made a successful transition to becoming strictly an inker, beginning with DC Comics (inking notably Curt Swan on Superman #'s 408-416) and moving to Marvel where he inked many noted pencillers such as John Romita Jr., Gene Colan, John Buscema, Rick Leonardi, Pat Oliffe, Mike Mignola, Lee Weeks, and many others. According to then-Marvel Art Director John Romita: 'Al Williamson is one of the best pencillers in the world but he really can't make a living at penciling because he wants to do these beautifully pencilled pages with ample time to do them. That's why Al is inking now...and adding a greater dimension to the penciller he's working with.[48] He won a total of nine industry awards for 'Best Inker' between 1988 and 1997.

1990s

Cover to Classic Star Wars - Han Solo - Stars' End book)

Williamson provided the covers and additional artwork to Dark Horses' 20-issue reprinting of his Star Wars daily strips entitled 'Classic Star Wars' between 1992-94. He later inked the Star Wars: Phantom Menace and 'A New Hope' film adaptation for Dark Horse Comics. He was active as inker on several Marvel Comics titles, including Daredevil (#'s 248-300), Spider-Man 2099 (from #'s 1-25), and Spider-Girl (#'s 1-61) until 2003.

In 1995 Marvel released a two-part Flash Gordon miniseries written by Mark Schultz and drawn by Williamson, which was his last major solo book. Also with Schultz, he illustrated a final short story, 'One Last Job' for Dark Horse Presents #120 in 1997. In 1999, he last drew comic strip Flash Gordon when regular cartoonist Jim Keefe asked for his help on a Flash Gordon Sunday page.[49]

Later career

Since 1998, there have been five career retrospective books published, of which Williamson has cooperated with the production. He appeared in the 2003 Frank Frazetta documentary 'Painting with Fire', along with other surviving 'Fleagle Gang' members Angelo Torres and Nick Meglin.[50]

2009 saw the first printing of a Williamson Sub-Mariner story written by Mark Schultz and dedicated to Sub-Mariner creator Bill Everett. [51] The story itself was originally drawn ten years previously. [52] Williamson also reportedly illustrated a Xenozoic Tales story written by Mark Schultz which remains unpublished. [53]

Williamson has been a stylistic influence on a number of younger artists such as Tom Yeates [54], Mark Schultz [55], Frank Cho [56], Steve Epting [57], Tony Harris [58], Jim Keefe [59], Dan Parsons [60], Dave Gibbons,[61] and Paul Renaud.[62]

Awards

He won the 1966 National Cartoonists Society Award for Best Comic Book, the 1966 Alley Award for Best Pencil Work, the 1969 Alley Award for Best Pencil Work, and 1991 Eisner Award for Best Inker for his work on 1990-91 Epic Comics miniseries Atomic Age and other titles. He was also a formally named finalist for induction into the Jack Kirby Hall of Fame in 1990, 1991, and 1992. He won a 1969 Nova Award for excellence in illustrative art.[63]

1989 Will Eisner Comic Industry Awards - Nominee - Best Art Team: (Daredevil [Marvel] - with John Romita Jr.) 1991 Will Eisner Comic Industry Awards - Winner - Best Inker 1996 Will Eisner Comic Industry Awards - Nominee - Best Penciller/Inker: (for Flash Gordon [Marvel Select/Marvel]) 1997 Will Eisner Comic Industry Awards - Winner - Best Inker: (for Spider-Man and Untold Tales of Spiderman #17-18 [Marvel]) 1998 Will Eisner Comic Industry Awards - Nominee - Hall of Fame 1999 Will Eisner Comic Industry Awards - Nominee - Hall of Fame 2000 Will Eisner Comic Industry Awards - Winner - Hall of Fame: (Voter's choice)

Harvey Awards 1988 Al Williamson, for Daredevil (Marvel) 1989 Al Williamson, for Daredevil (Marvel) 1990 Al Williamson, for Daredevil (Marvel) 1991 Al Williamson, for Fafhrd and the Grey Mouser (Marvel/Epic) 1993 Al Williamson, for Spider-Man 2099 (Marvel) 1994 Al Williamson, for Spider-Man 2099 (Marvel) 1995 Al Williamson, for Spider-Man 2099 (Marvel)[64]


Further Reading

  • Al Williamsons Flash Gordon: A Lifelong Vision of the Heroic' Mark Schultz' - Flesk (2009) ISBN 1-93386-513-X
  • The Al Williamson Reader, Vol. 1 - Greg Theakston - Pure Imagination (2008) ISBN 1-56685-037-1
  • Al Williamson: Hidden Lands - Thomas Yeates , Mark Schultz, Steve Ringgenberg, Al Williamson - Dark Horse (2004) ISBN 1-56971-816-4
  • Al Williamson Adventures - Harlan Ellison, Bruce Jones, Mark Schultz, Al Williamson Insight Studios Group (2003) ISBN 1-88931-717-9
  • Al Williamson Sketchbook -Al Williamson, J. David (Ed) Spurlock (Editor) Vanguard Productions; (1998) ISBN 1-88759-102-8
  • The Art of Al Williamson, James Van Hise - Blue Dolphin, 1983 - ISBN 0-94312-804-08

Footnotes

  1. ^ Van Hise, J. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 3
  2. ^ Hurd, Jud, 'The Al Williamson Story', Cartoonist Profiles #3 (Summer 1969), p.30
  3. ^ Van Hise, J. & Gaines, W. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 45
  4. ^ Hurd, Jud, 'The Al Williamson Story', Cartoonist Profiles #3 (Summer 1969), p.31
  5. ^ Schultz, M.(2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, p. 15
  6. ^ Schultz,M.(2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, 11-15
  7. ^ Schultz,M., Al Williamson-Hidden Lands20
  8. ^ Schultz, M., Al Williamson-Hidden Lands19-20
  9. ^ Morrow, J., 'Interview with Al Williamson' ,The Jack Kirby Collector #15 (April 1987), p.17
  10. ^ Strauss, R. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 7
  11. ^ Roberts, T., Al Williamson-Hidden Lands p. 31
  12. ^ Ringgenberg, S.C.(2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, 23-35
  13. ^ Strauss, R. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 8
  14. ^ Spurlock, D. (1998) Wally Wood Sketchbook. Lebanon, NJ: Vanguard Productions, p. 103
  15. ^ Ringgenberg, S.C. (2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, pp. 76-77
  16. ^ Ringgenberg, S.C. (2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, p.50
  17. ^ Strauss, R. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 9-10
  18. ^ Yeates, T. (2004) Al Williamson - Hidden Lands. Milwaukee: Dark Horse Books, 81-84
  19. ^ Yeates, T. (2004) Al Williamson - Hidden Lands. Milwaukee: Dark Horse Books, 147,153
  20. ^ Strauss, R. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, pp. 11-12
  21. ^ Morrow, J., 'Interview with Al Williamson' ,The Jack Kirby Collector #15 (April 1987), p.18
  22. ^ Feduniewicz, K., Yeates, T. (2004) Al Williamson - Hidden Lands. Milwaukee: Dark Horse Books, 194
  23. ^ Yeates, T. (2004) Al Williamson - Hidden Lands. Milwaukee: Dark Horse Books, 81-84
  24. ^ Strauss, R. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 13
  25. ^ Barlow, R.(1972) EC Lives!. E.C. Fan-Addict Club: New York, p. 33
  26. ^ Ringgenberg, S.C.(2004) Al Williamson-Hidden Lands. Milwaukee: Dark Horse Books, pp.46-48
  27. ^ Van Hise, J. & Gaines, W. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p. 45
  28. ^ Yeates, T. (2004) Al Williamson - Hidden Lands. Milwaukee: Dark Horse Books, 81-84
  29. ^ Feduniewicz, K. & Yeates,T., 'Williamson conquers the universe! ,Third Rail #1 (June 1981), p.3
  30. ^ Van Hise, J. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p.30
  31. ^ Van Hise, J. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p.65
  32. ^ "Modesty Blaise samples". Rick Norwood. http://www.io.com/~norwoodr/mb.html/. Retrieved on 2006-08-19. 
  33. ^ Goodwin, Archie, 'The Black & White World of Warren PublicationsComic Book Artist #4 (Spring 1999), p.9
  34. ^ Riggenberg, Steve, 'Al Williamson Interviewed', The Comics Journal #90 (May 1984), p.78
  35. ^ Riggenberg, Steve, 'Al Williamson Interviewed', The Comics Journal #90 (May 1984), p.80
  36. ^ Riggenberg, Steve, 'Al Williamson Interviewed', The Comics Journal #90 (May 1984), p.88
  37. ^ "Berni Wrightson Interview". Two Morrows. http://twomorrows.com/comicbookartist/articles/05wrightson.html. Retrieved on 2009-05-05. 
  38. ^ Schreiner, Dave , 'Savage World!', Death Rattle v. 2, no. 10 (Apr. 1987). pp.22-23
  39. ^ "Corrigan - Agent Secret X-9". Bedetheque. http://www.bedetheque.com/album-20662-BD-Le-FBI-joue-et-gagne.html. Retrieved on 2009-05-04. 
  40. ^ "A la fin de l'envoi". Bedetheque. http://www.bedetheque.com/serie-5199-BD-A-la-fin-de-l-envoi.html. Retrieved on 2009-04-18. 
  41. ^ "Comic Book Artist Interview". Kaluta.com. http://www.kaluta.com/pages/bio/intvwcba.html. Retrieved on 2009-05-06. 
  42. ^ "Flash Gordon Commercial Art". The Holloway Pages. http://home.comcast.net/~cjh5801a/Flash_williamson.htm. Retrieved on 2009-04-18. 
  43. ^ Van Hise, J. (1983) The Art of Al Williamson. San Diego: Blue Dolphin, p.36
  44. ^ "Writer/Editor Archie Goodwin". Echo Station. http://www.echostation.com/interview/goodwin.htm. Retrieved on 2009-04-18. 
  45. ^ Riggenberg, Steve, 'Al Williamson Interviewed', The Comics Journal #90 (May 1984), p.77
  46. ^ "Classic Star Wars". Time Line Universe. http://www.timelineuniverse.net/CoverGalleries/CovergalleryClassic2.htm. Retrieved on 2009-04-18. 
  47. ^ Wheatley, M. (2003) Al Williamson Adventures. Westminster, MD: Insight Studios Group, Preface
  48. ^ "Interview: John Romita". Jim Keefe. http://www.jimkeefe.com/studio/romita/interview.htm. Retrieved on 2009-04-18. 
  49. ^ "Jim Keefe's account of Williamson's Flash Gordon page". Jim Keefe. http://http://www.jimkeefe.com/studio/williamson/williamson.htm. Retrieved on 2009-06-16. 
  50. ^ Frazetta: Painting with Fire at the Internet Movie Database
  51. ^ "Sub-Mariner 70th Anniversary Special". Comic Book Resources. http://www.comicbookresources.com/?page=user_review&id=915. Retrieved on 2009-04-18. 
  52. ^ Spurlock, D. (1998) Al Williamson Sketchbook. Lebabnon, NJ: Vanguard Productions, 90
  53. ^ Beauchamp,M., 'Mark Schultz Interview', The Comics Journal #150 (May 1992), p.129
  54. ^ "Yeates' time with John Carter of Mars". Comicon Pulse News. http://www.comicon.com/ubb/ubbthreads.php?ubb=showflat&Number=540120. Retrieved on 2009-05-09. 
  55. ^ "In-Depth with Mark Schultz". Comic Book Resources. http://www.comicbookresources.com/?page=article&id=21107. Retrieved on 2009-05-09. 
  56. ^ "Cho's Meadow". Sequential Tart. http://www.sequentialtart.com/archive/may03/fcho.shtml. Retrieved on 2009-05-10. 
  57. ^ "Interview with Steve Epting". Aquaman Shrine. http://aquamanshrine.blogspot.com/2009/02/aquaman-shrine-interview-with-steve.html. Retrieved on 2009-05-04. 
  58. ^ "Short and Sweet with Tony Harris". PopImage.com. http://www.popimage.com/content/viewnews.cgi?newsid1053837723,858,. Retrieved on 2009-05-10. 
  59. ^ "Flash Gordon". Don Markstein's Toonpedia. http://www.toonopedia.com/fgordon.htm. Retrieved on 2009-05-10. 
  60. ^ "ERB Artist Dan Parsons". Erbzine.com. http://www.erbzine.com/mag11/1158.html. Retrieved on 2009-05-10. 
  61. ^ "The Mindscape of Alan Moore". DVDalk.com. http://www.dvdtalk.com/reviews/36687/mindscape-of-alan-moore-the/. Retrieved on 2009-05-10. 
  62. ^ "Interview with Paul Renaud". Paul Renaud.com. http://www.paulrenaud.com/interviewmages/interview.html. Retrieved on 2009-05-06. 
  63. ^ Hurd, Jud, 'The Al Williamson Story', Cartoonist Profiles #3 (Summer 1969), p.38
  64. ^ http://users.rcn.com/aardy/comics/awards/ Comic Book Awards Almanac Retrieved 16-09-2009

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