Al Williamson

This is a good article. Click here for more information.
Source: Wikipedia, the free encyclopedia.
For the baseball pitcher, see Al Williamson (baseball).

Al Williamson
Eisner Award Hall of Fame (2000)
Inkwell Awards
Joe Sinnott Hall of Fame (2010)

Alfonso Williamson

fantasy
.

Born in New York City, he spent much of his early childhood in

Weird Science and Weird Fantasy
.

In the 1960s, he gained recognition for continuing Raymond's illustrative tradition with his work on the Flash Gordon comic-book series, and was a seminal contributor to the Warren Publishing's black-and-white horror comics magazines Creepy and Eerie. Williamson spent most of the 1970s working on his own credited strip, another Raymond creation, Secret Agent X-9. The following decade, he became known for his work adapting Star Wars films to comic books and newspaper strips. From the mid-1980s to 2003, he was primarily active as an inker, mainly on Marvel Comics superhero titles starring such characters as Daredevil, Spider-Man, and Spider-Girl.

Williamson is known for his collaborations with a group of artists including Frank Frazetta, Roy Krenkel, Angelo Torres, and George Woodbridge, which was affectionately known as the "Fleagle Gang". Williamson has been cited as a stylistic influence on a number of younger artists, and encouraged many, helping such newcomers as Bernie Wrightson and Michael Kaluta enter the profession. He has won several industry awards, and six career-retrospective books about him have been published since 1998. Living in Pennsylvania with his wife Corina, Williamson retired in his seventies.

Williamson was inducted into the Will Eisner Comic Book Hall of Fame in 2000.

Biography

Early life and career

Al Williamson was born in Manhattan, New York City, New York,[1] one of two children of Sally and Alfonso Williamson, who was of Scottish descent and a Colombian citizen. The family relocated to Bogotá, Colombia, when Al was two years old.[5] "My father was Colombian and my mother was American," Williamson said in 1997. "They met in the States, got married and went down there. I grew up down there so I learned both English and Spanish at the same time. It was comic books that taught me to read both languages."[6] At age nine, Williamson took an interest in comic strips via the Mexican magazine Paquin, which featured American strips as well as Underwater Empire by Argentine cartoonist Carlos Clemen. Later, Williamson was attracted to Alex Raymond's Flash Gordon strip after his mother took him to see the Flash Gordon Conquers the Universe movie serial.[7] While living in Bogotá he met future cartoonist Adolfo Buylla, who befriended him and gave him artistic advice.[8] At age 12, in 1943, Williamson moved with his mother to San Francisco, California; they later moved to New York.[5][9]

Drawing of a young man looking intently into the eyes of a smiling young woman while holding her hand.
Late 1940s sketch

In the mid-1940s Williamson continued to pursue his interest in cartooning and began to take art classes with

George Evans, Bob Lubbers, John Celardo, and Mort Meskin.[11]

Williamson's first professional work may have been helping Hogarth pencil some Tarzan Sunday pages in 1948,

Standard Comics' Wonder Comics #20 [Oct. 1948].)[16] Williamson explained that while Hogarth had offered him Tarzan work, Williamson "just couldn't do it. ... I couldn't get it into my little brain that he wanted me to do it exactly the way that he did it," and instead successfully recommended Celardo, artist of the Tarzan-like feature "Ka'a'nga" in Fiction House's Jungle Comics.[13]
As Williamson recalled:

...Hogarth got in touch with [Celardo], and the next thing you knew, he was penciling the Sunday page for him. He did it for quite some time and something must have happened ... but at that point I was going to the Hogarth school again in the evenings ... and he asked me again if I would like to give it a try, so I said OK. He gave me a page and he had already laid it out, so I just tightened it up. Then he gave me another page that I tightened up and he inked it. Then I said I'd like to try laying it out myself and asked if I could do that, and he said, 'Go ahead, Al,' and handed me the script. So I laid that page out on a sketchpad. He said fine and just made a couple of suggestions as to what I should do; then I just did it on the big Sunday page, and when I was through, he inked it and the other one I had done the same way, and that was it.[17]

During this period Williamson met his main stylistic influence, Raymond: "I had just turned 18. I had been in the business about six months or so. He gave me about two hours."[18]

1950s

Race for the Moon #2 (September 1958), art by Jack Kirby and Al Williamson.

From 1949 to 1951, Williamson worked on

Standard Comics, and, possibly, Toby Press.[16] He began collaborating with Frank Frazetta, who often inked his work; and with Roy Krenkel, who often did backgrounds.[19] Examples of his work from that period include "Chief Victorio's Last Stand", in Avon's Chief Victorio's Apache Massacre (no number, no month, 1951); "Death in Deep Space", in Magazine Enterprises' Jet #4 (no month, 1951); and "Skull of the Sorcerer", in ACG's Forbidden Worlds #3 (Dec. 1951), inked by Wally Wood.[16][20]

Weird Science
 #20 (Aug. 1953).

In 1952, upon the suggestion of artists Wally Wood and

Weird Science, Weird Fantasy, and Weird Science-Fantasy, illustrating both original stories, primarily by writer Al Feldstein, and adaptations of stories by authors such as Ray Bradbury[24] and Harlan Ellison,[25] but his work occasionally appeared in EC's horror and crime comics
as well.

Williamson worked at EC through 1956 until the cancellation of most of the company's line. Williamson's EC art has been lauded for its illustrative flamboyance, evident in such stories as "I, Rocket", in Weird Fantasy #20 (Aug. 1953), co-penciled and co-inked with Frank Frazetta; and "50 Girls 50", in Weird Science #20 (Aug. 1953), co-inked by Williamson and Frazetta.[16][26] His final published EC story was the 10-page "A Question of Time", in Shock Illustrated #2 (Feb. 1956) with partial inking by Torres, who put his initials on the last page.[16] In the fall of 1956, writer Larry Ivie introduced Williamson to future comics writers-editor Archie Goodwin, with whom he would become friends and, later, a frequent collaborator. Williamson eventually helped Goodwin enter the comics field, having him script a Harvey Comics story, "The Hermit", penciled by Reed Crandall and inked by Williamson.[27]

From 1955 to 1957, Williamson produced over 400 pages of three-to-five-page stories for

Marvel Tales #144 (March 1956); "Menace from the Stars", in Mystery Tales #44 (Aug. 1956); "The Unknown Ones", in Astonishing #57 (Jan. 1957); "Dreadnaught", in Navy Tales #2 (March 1957); and "Helpless", in Battle #55 (Nov. 1957).[16][30][31] While "something appeared to be missing from a lot of his Atlas work: enthusiasm," Williamson's Atlas Westerns, at least, "form a strongly consistent body of work, characterized by minimal to nonexistent action, a preponderance of closeups and reaction shots, and well-defined figures set against sparse backgrounds."[30]

From 1958 to 1959 Williamson worked for Harvey Comics collaborating with former EC artists Reed Crandall, Torres and Krenkel and inking the pencils of Jack Kirby (for Race to the Moon #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."[32]

Additionally, Williamson drew stories for Classics Illustrated (in collaboration with Crandall and Woodbridge); Canaveral Press's line of Edgar Rice Burroughs books (inked by Crandall);[33] Westerns for Dell Comics (including Gunsmoke #8–12) and Charlton Comics, including two complete issues of the Cheyenne Kid (#10–11) with Angelo Torres, and science-fiction stories for ACG, including "The Vortex", in Forbidden Worlds #69 (1958).[28] He also worked with former EC artist John Severin on the "American Eagle" feature in Prize Comics Western #109 and #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.[34] He has been noted for his perfectionism and love for the medium.[35] Despite its high reputation, S.C. Ringgenberg felt that Williamson's artwork from this period could at times be uneven and uninspired.[36] Williamson was single during this period and, according to The Art of Al Williamson, had a bohemian and undisciplined lifestyle.[37]

1960s

In 1960, with 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

Sunday strip version of Modesty Blaise.[42]

King Features Flash Gordon
#1 (Sept. 1966)

He returned to comics in 1965 doing one story each in Gold Key Comics' Ripley's Believe It or Not! #1 (June 1965), The Twilight Zone #12 (Aug. 1965), and Boris Karloff Tales of Mystery #11 (Sept. 1965), and helped launch Warren Publishing's black-and-white horror-comics magazines Creepy and Eerie with several stories in early issues, while contributing to Warren's war comics magazine Blazing Combat. He was instrumental in recruiting other former EC Comics artists as Frazetta, Krenkel, Torres, Crandall, and Evans, as well as artist Gray Morrow and writer-editor Archie Goodwin.[43]

In 1966, he drew the first issue (Sept. 1966) of a new

National Cartoonist Society Best Comic Book art award for his work on that title.[44] 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, collaborating with writer Goodwin.[45] At the start of their tenure, the title was changed to Secret Agent Corrigan.[46]

Williamson helped assemble the first major book on Alex Raymond's Flash Gordon, published by Nostalgia Press in 1967, and wrote the introduction.[47] In 1969, Wally Wood's alternative-press comic book witzend #1 published Williamson's "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, the story is a prime sample of the "Fleagle Gang" style and has since been reprinted by Marvel Comics (in the black-and-white comics magazine Unknown Worlds of Science Fiction #1, January 1975), Pacific Comics and Kitchen Sink Press.[48] Wood would later write the script for a three-page story drawn by Williamson, "The Tube", in another alternative-press comic, publisher Flo Steinberg's Big Apple Comix (1975).

By the end of the decade, Williamson was beginning to encourage younger artists whom he would meet at comic book conventions, helping Bernie Wrightson to enter the comics profession.[49]

1970s

This Secret Agent Corrigan panel (December 1, 1972) shows Williamson's skill with inking and contrasting techniques.

Williamson worked on Secret Agent Corrigan through the 1970s 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.[50] He returned to Warren Publishing in 1976 and again in 1979 to draw three additional stories in Creepy (#83, 86, 112). These were published in France in the collection Al Williamson: A la fin de l'envoi in 1981.[51]

He drew a few more stories for

Kid Colt Outlaw
 #147 (June 1970), further introducing Williamson's early work to a latter-day generation.

1980s

After leaving the Secret Agent Corrigan daily strip, he illustrated the

adaptation of The Empire Strikes Back with Carlos Garzon,[58] as well as the 50th issue of the monthly Star Wars comic. Williamson was Lucasfilm's first choice as illustrator for the Star Wars newspaper comic strip, a project Williamson had been offered years earlier but had declined to take on at the time. He was offered the Empire Strikes Back adaptation upon Lucasfilm's specific request, as George Lucas had an appreciation of Williamson's EC Comics and Flash Gordon work.[59] Writer Archie Goodwin cited "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."[60]

A comic book adaptation of the Dino De Laurentiis' film, Flash Gordon, written by Bruce Jones and illustrated by Al Williamson, was released by Western Publishing in both hardcover and softcover formats to coincide with the film's release. A photograph of actor Sam J. Jones, who played Flash Gordon, was pasted into the original cover art. It was serialized in three issues of Whitman's Flash Gordon comic book, #31–33, March–May 1981. Alden 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."[61] He then began drawing the Star Wars comic strip in February 1981[62] following Alfredo Alcala's tenure, with Goodwin writing. He drew the daily and Sunday feature until March 11, 1984, when the strip was canceled.[63] Williamson's daily strips on this series were completely reprinted in Russ Cochran's three-volume slipcase edition in 1991.[64]

Returning to comic books full-time for the first time since 1959, Williamson began work for Pacific Comics, collaborating 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 miniseries. For Marvel, he illustrated the Blade Runner and Return of the Jedi movie adaptations.[65] The two Archie Goodwin stories he illustrated for Epic Illustrated ("Relic" in issue #27, 1984; and "Out of Phase", in #34, 1986) have been considered to be some of his finest work,[66] and Williamson himself named "Relic" as one of his best works.[33] The letterer on all these projects was Ed King.[67] Williamson drew a short story for Timespirits #4 and the full issue of Star Wars #98.[16] For DC Comics, he penciled and inked an eight-page story by Elliot S. Maggin for Superman #400 (Oct. 1984)[68] and he inked Rick Veitch on the classic, oft reprinted Alan Moore Superman/Swamp Thing story "The Jungle Line" in DC Comics Presents #85 (Sept. 1985).[16]

Following the expiration of his contract on the Star Wars newspaper strip, Williamson found that the weight of doing both pencil and inks suddenly became stressful to him, drastically reducing his output.

Pat Oliffe, John Romita Jr., Lee Weeks, and many others. John Romita Sr., Marvel's art director during that time, considered Williamson to be "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."[70]
He won nine industry awards for Best Inker between 1988 and 1997.

1990s

Drawing of a man pointing a pistol at the viewer. In the background looms a monster and an ape figure, while some spaceships fly by in a starry sky.
Williamson promotional art for cover of Dark Horse Comics' Classic Star Wars: Han Solo at Star's End (1997)

Williamson provided the covers and additional artwork for

Eisner Award for Best Inker. Daredevil penciler John Romita Jr. recalled that, "Working with Al Williamson was much like working with my father [comics artist John Romita Sr.] in that I felt that I was protected from mistakes. ... If my art wasn't correct, then Al would repair it. Oddly enough, Al said he never had to fix anything, claiming he just 'traced' over my pencils."[71] In a 1988 interview Williamson indeed stated that "I'm just tracing [Romita's] pencils" and claimed that the only changes he made were occasionally leaving out an unnecessary background if he was in a rush.[33]

In 1995, Marvel released a two-part Flash Gordon miniseries written by Mark Schultz and drawn by Williamson, which was his last major work doing both pencils and inks. Also with Schultz, he illustrated the short story "One Last Job" for Dark Horse Presents #120 in 1997. In 1999, he drew the Flash Gordon character a final time when regular cartoonist Jim Keefe asked for his help on a Flash Gordon Sunday page.[72]

Later life and career

Since 1998, there have been six career retrospective books published (see "Further Reading" section). Williamson cooperated with their production, with the exception of the books from Pure Imagination. He was interviewed for the 2003 Frank Frazetta documentary Painting with Fire, along with fellow surviving "Fleagle Gang" members Angelo Torres and Nick Meglin.[73] In 2009, a Williamson-illustrated Sub-Mariner story written by Schultz and dedicated to Sub-Mariner creator Bill Everett was published.[74] The story itself was originally drawn ten years previously.[75] Williamson illustrated a "Xenozoic Tales" story written by Schultz that remains unpublished.[76]

Living in Pennsylvania with his wife Corina,[77] Williamson retired in his seventies[78] and died on June 12, 2010, in Upstate New York.[1] Some premature reports, based on unsubstantiated Twitter claims, erroneously gave June 13, 2010.[79][80]

Legacy

Williamson has been a stylistic influence on a number of younger artists such as

Tony Harris,[85] Jim Keefe,[86] Dan Parsons,[87] Dave Gibbons,[88] and Paul Renaud.[89]

Awards

Harvey Award

Eisner Award

Jack Kirby Hall of Fame

  • Formally named finalist for induction in 1990,[98] 1991,[99] and 1992.[111]

References

  1. ^ a b c Hevesi, Dennis (June 21, 2010). "Al Williamson, Illustrator of Comic Books, Dies at 79". The New York Times. p. B8. Archived from the original on June 1, 2014.
  2. ^ Miller, John Jackson (June 10, 2005). "Comics Industry Birthdays". Comics Buyer's Guide. Iola, Wisconsin. Archived from the original on February 18, 2011. Retrieved February 1, 2011.
  3. ^ Veitch, Rick (June 14, 2010). "Al Williamson 1931–2010". Pulse (column) ComicCon.com. Archived from the original on July 16, 2011. Retrieved June 15, 2010.
  4. ^ "Al Williamson, RIP: The Official Statement From The Williamson Family". The Comics Reporter. June 14, 2010. Archived from the original on June 28, 2011.
  5. ^
    ISBN 0-943128-04-8
    , p. 15
  6. ISBN 978-1-893905-02-3
  7. ^ Hurd, Jud, "The Al Williamson Story", Cartoonist Profiles #3 (Summer 1969), p.31
  8. ISBN 978-1569718162
    .
  9. ^ Schultz, in Yeates, Ringgenberg, pp. 11–15.
  10. ^ Schultz, in Yeates, Ringgenberg, p. 20.
  11. ^ Morrow, Jon. "Interview with Al Williamson", The Jack Kirby Collector #15 (April 1997), p. 17
  12. ^ Schultz, in Yeates, Ringgenberg, pp. 19–20.
  13. ^ a b c Van Hise, The Art of Al Williamson, p. 18.
  14. ISBN 978-1-60699-577-8
    .
  15. ^ Strauss, Robert, "Flourishing with the Genre" in Van Hise, p. 7
  16. ^ a b c d e f g h i Al Williamson at the Grand Comics Database
  17. ^ Van Hise, The Art of Al Williamson, pp. 18–19
  18. ^ Roberts, Tom, "Alex Raymond" (sidebar), "Chapter 2: The Young Pro" in Yeates, Ringgenberg, p. 22
  19. ^ Ringgenberg, S.C., "Chapter 3: EC" in Yeates, Ringgenberg, pp. 23–35
  20. ^ Williamson, in Van Hise, p. 19, credits the inking on "Skull of the Sorcerer" to Wood, Joe Orlando, Frank Frazetta. and himself.
  21. ^ Spurlock, David. Wally Wood Sketchbook. (Lebanon, New Jersey: Vanguard Productions, 1998) p. 103
  22. ^ Ringgenberg in Yeates, Ringgenberg, pp. 76–77
  23. ^ Ringgenberg in Yeates, Ringgenberg, p. 50
  24. ^ For example, "A Sound of Thunder" in Weird Science-Fantasy #25(Sept. 1954)
  25. ^ For example, "Upheaval", an adaptation of Ellison's "Mealtime", in Weird Science-Fantasy #24 (June 1954). It was Ellison's first comic book work: "Weird Science-Fantasy #24". Sequentialellison.com. n.d. Archived from the original on December 3, 2013.
  26. ^ Strauss, in Van Hise pp. 9–10, singles out "I, Rocket" and "50 Girls 50" as stylistic breakthroughs.
  27. ^ Feduniewicz, Ken, and Yeates, Thomas, "Chapter 5: Fade-Out on the Fifties" in Yeates, Ringgenberg, pp. 193–194
  28. ^ a b c Yeates, Thomas, "Chapter 4: Atlas" in Yeates, Ringgenberg, pp. 81–84
  29. ^ Yeates, Thomas, "Chapter 4: Atlas" in Yeates, Ringgenberg, pp. 147–153
  30. ^ a b c Strauss, pp. 11–12
  31. ^ "Al Williamson credits". Atlas Tales. n.d. Archived from the original on December 2, 2013.
  32. ^ Morrow, Jon. "Interview with Al Williamson", The Jack Kirby Collector #15 (April 1997), p. 18
  33. ^
    Fictioneer Books
    . pp. 43–59.
  34. ^ Strauss, p. 13
  35. ^ Barlow, R.(1972) EC Lives!. E.C. Fan-Addict Club: New York, p. 33
  36. ^ Ringgenberg, S.C., "Chapter 3: EC" in Yeates, Ringgenberg, pp. 46–48
  37. ^ Van Hise, The Art of Al Williamson, p. 45
  38. ^ Feduniewicz, K. and Yeates, T., 'Williamson conquers the universe! ,Third Rail #1 (June 1981), p.3
  39. ^ Van Hise, The Art of Al Williamson, 30
  40. ^ Van Hise, The Art of Al Williamson, p. 65
  41. ^ Hurd, p. 32
  42. ^ Mendez, A. E. "Madame X: Peter O'Donnell and Jim Holdaway's Modesty Blaise". The Rules of Attraction: The Look of Love: The Rise and Fall of the Photo-Realistic Newspaper Strip, 1946–1970. Archived from the original on July 20, 2007. Retrieved November 4, 2009.
  43. ^ Goodwin, Archie, "The Black & White World of Warren Publications", Comic Book Artist #4 (Spring 1999), p.9
  44. ^ Ringenberg, Steve. "Al Williamson Interviewed", The Comics Journal #90 (May 1984), p. 78
  45. ^ "Al Williamson". Lambiek Comiclopedia. 2014. Archived from the original on June 5, 2014.
  46. ^ Riggenberg, "Al Williamson Interviewed", p. 80
  47. ^ Ringgenberg, "Al Williamson Interviewed", p. 88
  48. ^ Schreiner, Dave. "Savage World", Death Rattle vol. 2, #10 (April 1987) pp. 22–23
  49. Two Morrows Publishing. Summer 1999. Archived
    from the original on February 18, 2010.
  50. ^ "Corrigan – Agent Secret X-9". Bedetheque. Archived from the original on June 1, 2014. Retrieved May 4, 2009.
  51. ^ "A la fin de l'envoi". Bedetheque. Archived from the original on January 29, 2013. Retrieved April 18, 2009.
  52. ^ Cooke, Jon B. (March 13, 1998). "Interview by Jon B. Cooke of Comic Book Artist Magazine". Kaluta.com. Archived from the original on April 7, 2014.
  53. ISBN 0821220764
    .
  54. ^ "Flash Gordon Commercial Art". The Holloway Pages. Archived from the original on April 12, 2009. Retrieved April 18, 2009.
  55. ^ Vadeboncoeur, Jim. Al Williamson: His Work (Promethean Enterprises: Sunnyvale, California, 1971)
  56. ^ See Van Hise, James, The Al Williamson Collector, Rocket's Blast Comicollector, Miami, Florida: S.F.C.A, #'s 90–116
  57. ^ For example, Heritage #1a and 1b, Doug Murray and Richard Garrison (1972); Squa Tront #1–7, Wichita: Jerry Weist (1967–1977)
  58. ISBN 9780316329293
    . The artwork reached a new high, with Williamson penciling and Carlos Garzon inking likenesses of the characters that had an accuracy never before seen in the series.
  59. ^ Van Hise, The Art of Al Williamson, p. 36
  60. ^ Morrow, Jim (June 9, 1996). "Another Star Wars Classic: Writer/Editor Archie Goodwin". Echo Station. Archived from the original on July 23, 2013. Retrieved April 18, 2009.
  61. ^ Riggenberg, "Al Williamson Interviewed", p. 77
  62. ^ Edwards, p. 84
  63. ^ Edwards, p. 88: "The syndicated newspaper comic strip wrapped up its impressive run on March 11, 1984...Archie Goodwin and Al Williamson continued to deliver top-quality story lines through to the end."
  64. ^ "Classic Star Wars". Time Line Universe. Archived from the original on December 4, 2013. Retrieved April 18, 2009.
  65. ^ Edwards, p. 87
  66. ISBN 1-889317-17-9
    . Preface
  67. ^ Ed King at the Grand Comics Database
  68. ^ Addiego, Frankie (December 2013). "Superman #400". Back Issue! (69). Raleigh, North Carolina: TwoMorrows Publishing: 68–70.
  69. ISBN 978-1887591393
    . Curt stated that, for the record, Williamson was his favorite inker. He wrote of his 'flair'. Indeed Williamson's varied line did lend itself to excellent reproduction in the telling of a good story.
  70. ^ Keefe, Jim. "Interview: John Romita". JimKeefe.com. Archived from the original on December 3, 2013. Retrieved April 18, 2009.
  71. ^ Cordier, Philippe (April 2007). "Seeing Red: Dissecting Daredevil's Defining Years". Back Issue! (21). Raleigh, North Carolina: TwoMorrows Publishing: 49. Retrieved January 20, 2013.
  72. ^ "Jim Keefe's account of Williamson's Flash Gordon page". Jim Keefe. Archived from the original on January 29, 2013. Retrieved June 16, 2009.
  73. ^ "Production Timeline". Cinemachine (self-published). Archived from the original on March 5, 2009. Retrieved November 10, 2009.
  74. ^ Zawisza, Doug (April 14, 2009). "Sub-Mariner 70th Anniversary Special". Comic Book Resources. Archived from the original on April 17, 2009. Retrieved April 18, 2009.
  75. ISBN 1-887591-02-8
  76. ^ Beauchamp, M. '"Mark Schultz Interview", The Comics Journal #150 (May 1992), p. 129
  77. ^ Lorah, Michael C. (June 3, 2010). "Mark Schultz: Celebrating Al Williamson's Flash Gordon". Newsarama. Archived from the original on June 1, 2014.
  78. ^ Hoffman, Eric (July 5, 2013). "50 Girls 50 and Other Stories by Al Williamson". ComicsBulletin. Archived from the original on April 20, 2014. Retrieved June 1, 2014.
  79. ^ Phegley, Kiel (June 14, 2010). "R.I.P. Al Williamson". Comic Book Resources. Archived from the original on June 1, 2014. Retrieved June 14, 2010. Archive requires scrolldown
  80. ^ Greenberger, Robert (June 14, 2010). "Al Williamson 1931–2010". ComicMix.com. Archived from the original on June 1, 2014.
  81. ^ Contino, Jennifer M. "Yeates' time with John Carter of Mars". Comicon Pulse News. Archived from the original on March 1, 2012. Retrieved May 9, 2009.
  82. ^ Dueben, Alex. "In-Depth with Mark Schultz". Comic Book Resources. Archived from the original on May 17, 2009. Retrieved May 9, 2009.
  83. ^ Contino, Jennifer M. "Cho's Meadow". Sequential Tart. Archived from the original on September 24, 2015. Retrieved May 10, 2009.
  84. ^ Kelly, Rob (February 24, 2009). "Interview with Steve Epting". Aquaman Shrine. Archived from the original on November 15, 2013. Retrieved May 4, 2009.
  85. ^ Dempsey, B. Allan (April 12, 2003). "Short and Sweet with Tony Harris". PopImage.com. Archived from the original on March 3, 2016. Retrieved May 10, 2009.
  86. ^ Markstein, Don (2007). "Flash Gordon". Don Markstein's Toonopedia. Archived from the original on September 12, 2012.
  87. ^ "ERB Artist Dan Parsons". Erbzine.com. Archived from the original on September 15, 2013. Retrieved May 10, 2009.
  88. ^ "The Mindscape of Alan Moore". DVDTalk.com. Archived from the original on April 26, 2009. Retrieved May 10, 2009.
  89. ^ "About Paul". Paul Renaud (official site). Archived from the original on August 29, 2013. Retrieved May 6, 2009.
  90. ^ "Division Awards Comic Books". National Cartoonists Society. 2013. Archived from the original on December 16, 2013. Retrieved December 16, 2013.
  91. ^ "1966 Alley Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on April 28, 2014.
  92. ^ "1967 Alley Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on April 28, 2014.
  93. ^ Hurd, p. 38
  94. ^ "Inkpot Award Winners". Comic Book Awards Almanac. Archived from the original on July 9, 2012.
  95. ^ "2010 Inkwell Awards Winners". Inkwell Awards. Archived from the original on March 1, 2016.
  96. ^ "1988 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 24, 2013.
  97. ^ "1989 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 5, 2013.
  98. ^ a b "1990 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 5, 2013.
  99. ^ a b "1991 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 5, 2013.
  100. ^ "1993 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 4, 2013.
  101. ^ "1994 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 4, 2013.
  102. ^ "1995 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 4, 2013.
  103. ^ "1989 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on September 22, 2013.
  104. ^ "1991 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on December 17, 2014.
  105. ^ "1996 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on September 22, 2013.
  106. ^ "1997 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on April 28, 2014.
  107. ^ "1998 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on November 1, 2014.
  108. ^ "1999 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on April 28, 2014.
  109. ^ "2000 Will Eisner Comic Industry Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on September 21, 2013.
  110. The Will Eisner Comic Industry Awards. 2014. Archived
    from the original on January 10, 2014.
  111. ^ "1992 Harvey Award Nominees and Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on October 4, 2013.

Further reading

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Al_Williamson&oldid=1214810821"