Jim Steranko

Jim Steranko
Birth nameJames Steranko
BornNovember 05 1938 (1938--) (age 69)
Reading, Pennsylvania
Nationality American
Area(s)Illustrator; Writer; Publisher
Notable worksNick Fury, Agent of S.H.I.E.L.D.
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Captain America #111 (March 1969): Steranko's signature surrealism. Inking by Joe Sinnott.
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.


Early life and career

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Steranko's first published comic-book art: Inset of George Tuska cover, Harvey Comics' Spyman #1 (Sept. 1966)
According to his authorized biography, Jim Steranko's grandparents emigrated from the Ukraine to settle in the anthracite coal-ming 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. Radio programs, Saturday movie matinées and serials, and other popular culture of the time also influenced him.[4]

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.[5]

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.[6] 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[7] He also claims to have put the first go-go girls onstage.[8] 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.[9]

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.[10]

Breaking into comics

After first attempting to find work at Marvel Comics in 1965, Steranko entered the comics industry the following year through editor Joe Simon at Harvey Comics, where Steranko created or helped create 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.[11]

Silver Age Steranko

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A rare quiet moment for Nick Fury: Strange Tales #168 (May 1968). Art by Steranko and Joe Sinnott.

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 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 feature previously. Steranko began drawing the every-other-issue "Nick Fury" cover art two issues later, and, in a rarity for comics artists, took over the series' writing with #155. 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".[12]

Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art; built on Kirby's longstanding work in photomontage; and in Strange Tales #167 (Jan. 1968), created comics' first four-page spread — again inspired by Kirby, who in the Golden Age had pioneered the first full-page and double-page spreads. 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.[13]

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".[14]
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Steranko's Bond girl-like Contessa Valentina Allegra di Fontaine, from same issue as above left.
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, Steranko did a handful of additional covers only, 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[15] 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.

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. He gravitated away from monthly comics toward covers and special projects. Never thinking of himself exclusively as working in comics, he branched into multiple other areas of publishing. He compiled a portfolio of acrylic paintings and met with Lancer Books art director Howard Winters, to whom he immediately sold a fantasy painting from among his samples. 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.
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The artist-historian's wraparound covers on the two-volume Steranko History of Comics
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 multivolume history of the American comics industry, though no further editions have appeared. Written by Steranko, with hundreds of black-and-white cover reproductions as well as a complete reprint of one story of The Spirit 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.

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. It ran from 1972 through 1994, and in its later years was criticized for doing double duty as a catalog for Steranko's retailing business, particularly its erotica. In 1973, Steranko became founding editor of Marvel's official fan magazine, FOOM, serving for four issues before being succeeded by Tony Isabella.[16]

Occasionally returning to narrative forms, Steranko wrote, drew, and produced the illustrated novel (1976), published by Byron Preiss Visual Publications/Pyramid Books as part of its "Fiction Illustrated" series.

Film work

For the movie industry, Steranko was the conceptual artist on Steven Spielberg's Raiders of the Lost Ark, designing both the look of the film and the character of Indiana Jones. He also served as project conceptualist on Francis Ford Coppola's Bram Stoker's Dracula and wrote the episode "The Ties That Bind" of the DC Comics animated TV series Justice League Unlimited. Brad Bird has stated that Steranko's work was his main comic-book influence on Pixar's The Incredibles.

Steranko also drew a comic-book adaptation of the 1981 film Outland, serialized in Heavy Metal magazine. The lighthearted spy movie If Looks Could Kill (1991) features Roger Rees as the villain, Augustus Steranko.

Awards and honors

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Unpublished splash-page pencils, Wraitheart #4: Writer Frank Lovece and artist Hector Gomez's homage to Steranko's Nick Fury #6 cover.
  • 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)[17]


  • 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. <ref name="metro" /> [18] [19]
  • The three-page opening sequence of Captain America (2004 series) #23 (Dec. 2006) 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.
  • The artwork of Paul Gulacy, especially as seen in his initial run of "Master of Kung Fu", is inspired by Jim Steranko.


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The Silk Stocking Killer art print featuring Steranko's private eye character Chandler. Frank Miller would use similar patterned shading in Sin City.
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".[20]

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".<ref name="jackfaq" />
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The Incredible Hulk King-Size Special #1 (Oct. 1968). Cover art by Steranko; head redrawn by Marie Severin.[21]

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)[22]
  • Spyman  2 (Dec. 1966; Harvey Comics) (wrote and partly penciled story "The Hand Is Quicker than the Monster")[23]
  • 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")[24]
  • Strange Tales  151-153 (over Jack Kirby layouts), 154-168, plus odd-# covers from 151 (inker over Kirby), 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.<ref name="ms" />
  • 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 SHIELD  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 First Kingdom 9  cover colorist only (1978) (company tk)
  • 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

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); Dark Horse reissue, 2001; ISBN 1-56971-438-X)
  • Unseen Shadows: 50 Cover Concept Illustrations (Supergraphics, 1978)
  • Domino Lady: The Complete Collection (Vanguard Productions 2004, ISBN 1-887591-70-2)
  • Hypertype: Creating Expressive Typography For Entertainment Media (Vanguard Productions 2006, ISBN 1-887591-77-X)


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).
  • Visual Theory: The Steranko Archives, Volume 1

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)

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)
  • 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)

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)


  • 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)
Date unknown
  • Why Isn't a Nice Girl Like You Married? or How to Get Most Out of Life While You're Single by Rebecca Greer (self-help)


1. ^ Comics Buyers Guide #1636 (December 2007); Page 135
2. ^ Steranko Arte Noir by Jim Steranko, J. David Spurlock, Angel de la Calle (Vanguard Productions/Semana Negra, 2002), pp. 11-12
3. ^ Steranko Arte Noir, Ibid., p. 18
4. ^ Steranko Arte Noir, Ibid., pp. 12-15
5. ^ Steranko Arte Noir, Ibid., p. 5
6. ^ Metro (Silicon Valley), Dec. 12-18, 2002: "Escape Artist", by Richard von Busack
7. ^ Steranko Arte Noir, Ibid., pp. 20
8. ^ Steranko Arte Noir, Ibid., pp. 21: "I was the first to put a female dancer — I christened her Miss Twist — on stage. Other bands copies the bit, so I topped them by putting two girls side by side simultaneously! Then I topped that by having the girls do a discreet strip routine. Two years later, the go-go girl craze swept America".
9. ^ Steranko Arte Noir, Ibid., pp. 16-18
10. ^ Lafuente, Eduardo Lopez. "Jim Steranko" (bio), Nick Fury, Agent of S.H.I.E.L.D. trade-paperback collection (Marvel Enterprises, 2000) ISBN 0-7851-0747-9
11. ^ Roy Thomas interview, Alter Ego #50, July 2005, p. 23. A much more hyperbolic account appears in Steranko Arte Noir, Ibid., pp. 24 & 26, in which author Spurlock claims Steranko had not gone to Marvel the previous year, had dealt only with receptionist Flo Steinberg, never did the sample-pages inking, and was supposedly given his choice of drawing any comic in Marvel's line, including replacing Jack Kirby on Fantastic Four or Thor or John Romita Sr. on The Amazing Spider-Man.
12. ^ Goulart, Ron. Comix: A History of Comic Books in America (Bonanza Books, New York, 1971; Library of Congress Catalog Card Number 75-169-104)
13. ^ One notable example is a silent, one-page seduction sequence in Nick Fury, Agent of S.H.I.E.L.D. #2 that had two panels changed at the behest of the Comics Code Authority. In the third-to-last panel, de facto Marvel art director John Romita Sr. redrew a telephone that had been taken off the hook for privacy, placing the receiver back in the cradle; in the last panel, an image was removed and replaced with a closeup of an item from earlier in the page — a phallic long-barreled gun in a holster.

Journalist Robin Green described the event in "Face Front! Clap Your Hands, You're on the Winning Team!" Rolling Stone Vol. 1, #91 (Sept. 16, 1971):
So one panel had the stereo in Fury's apartment to show there was music playing, cigarettes in the ash tray in one, there was a sequence of intercut shots where she moved closer to him, much more intimately, there was a kiss, there was a rose, and then there was one panel with the telephone off the hook, which the comic book code [sic; "Comics Code"] made him put back on. ... [T]he last panel on that page had Nick and his old lady kneeling, with their arms around each other, and that was entirely too much for the Code, so the panel was replaced with a picture of a gun its holster. |-

The story was reprinted as published in Nick Fury Special Edition #1 (Dec. 1983). When reprinted again, in Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio? (Marvel Enterprises, 2001; ISBN 0-7851-0766-5), however, Steranko's original final panel was reinserted. In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Contessa on one knee, getting up.
14. ^ Hama, Larry. Introduction, Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio?
15. ^ Publishers Weekly PW Comics Week (March 7, 2006): "Steranko and Simon: Back to Back", by Peter Sanderson
16. ^ FOOM #1-4 (Feb.-Summer 1973)
17. ^ The Drawings of Steranko: "Steranko Recognizes the Power of Kindness in Julie Award Speech"
18. ^ P.O.V. Online (column), by Mark Evanier: "Frequently Asked Questions About Jack Kirby
19. ^ The Amazing Website of Kavalier & Clay: Real Kavaliers & Clays
20. ^ Betty Pages Magazine #4 (Spring 1989)
21. ^ Comics Buyer's Guide #1347 (Sept. 1999): "Changes: Jim Steranko's brushes with the boundaries", by Jim Steranko (Krause Publications), pp. 38-39
22. ^ Grand Comics Database: Spyman #1
23. ^ Grand Comics Database: Spyman #2
24. ^ Grand Comics Database: Double-Dare Adventures #1


November 5 is the feast day of the following Roman Catholic Saints:
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    Colonel Nicholas Joseph "Nick" Fury is a fictional World War II army hero and present-day super-spy in the Marvel Comics universe.

    Created by Stan Lee and Jack Kirby, Fury first appeared in Sgt.
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    November 5 is the feast day of the following Roman Catholic Saints:
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  • St. Galation
  • St. Magnus
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  • 19th century - 20th century - 21st century
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    1935 1936 1937 - 1938 - 1939 1940 1941

    Year 1938 (MCMXXXVIII
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    Reading, Pennsylvania
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    Berks County’s location in Pennsylvania
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    "In God We Trust"   (since 1956)
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    A graphic designer (also known as a graphic artist) is a professional within the graphic design and graphic arts industry who assembles together images, typography or motion graphics to create a piece of art.
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    The genre of spy fiction—sometimes called political thriller or spy thriller or sometimes shortened simply to spy-fi—arose before World War I at about the same time that the first modern
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    Colonel Nicholas Joseph "Nick" Fury is a fictional World War II army hero and present-day super-spy in the Marvel Comics universe.

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    Comics (or, less commonly, sequential art) is a form of visual art consisting of images which are commonly combined with text, often in the form of speech balloons or image captions.
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    Anthracite (Greek Ανθρακίτης, literally "a form of coal", from Anthrax [Άνθραξ], coal) is a hard, compact variety of mineral coal that has a high luster.
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    A tinsmith, or tinner or tinplate worker, is a person who makes and repairs things made of light-coloured metal, particularly tinware. By extension it can also refer to the person who deals in tinware.
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    outhouse, (also known as a privy, kybo, jakes or earth-closet) usually refers to a type of toilet in a small structure separate from the main building which does not have a flush or sewer attached.
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