"A Cold Knight's Frenzy" (15 pages)/Untitled (2 pgs)
"Project Deathlok" in Agent of S.H.I.E.L.D.
posted Feb 8, 2014, 7:29 PM by Vu Nguyen
Deathlok to appear on Marvel's Agents of S.H.I.E.L.D.
In the latest episode of AGENT OF S.H.I.E.L.D., #13 entitled
"T.R.A.C.K.S." which aired February 4, 2014, we see Mike Peterson, a
with a facial scar on half of his face and a cybernetic prosthetic leg.
We find out later that his leg bears the name "Project Deathlok".
posted Jan 24, 2014, 3:06 PM by Vu Nguyen
Deathlok Sets His Sights on Marvel's Agents of S.H.I.E.L.D.
Marc Strom, Published Jan 23, 2014 Jan 23, 2014
Actor J. August Richards' recurring character, Mike Peterson, to transform into the fan-favorite Marvel character!
Deathlok has come to "Marvel's Agents of S.H.I.E.L.D."
A classic Marvel Comics icon who is celebrating his 40th
anniversary this year, Deathlok will be brought to live-action life for
first time ever on the all-new episode of "Marvel's Agents of
S.H.I.E.L.D." premiering Tuesday, February 4 at 8:00 p.m. ET on ABC.
Transformed into the cybernetic solider against
his will, Mike Peterson (J. August Richards) must struggle to find the
man in the machine. With a high-tech eye that allows him to see through
walls, super strength and increased speed courtesy of a cybernetic leg,
will Deathlok fight alongside the Agents of S.H.I.E.L.D. or against
"We have been waiting all season for this moment where we
can reveal that Mike Peterson's story arc is an origin story," said
Executive Producer Jeffrey Bell. "We're thrilled to have J. August
Richards playing Deathlok and to have our audience enjoy this favorite
Marvel character on the show."
"If you would have asked when I
was nine-years old what I wanted to be, I would have said a super hero
and I'm so excited to be one now as an adult on TV!" added J. August
Richards. "It's a dream come true."
Fluit Notes: The Many Paths of George Perez, Part One
posted Jul 24, 2009 7:59 AM by vu sleeper
The Many Paths of George Perez, Part One
July 24, 2009 by Chris Fluit
I. The Early Years (1974-75)
George Perez broke into the comic book industry in the summer of 1974
(which also happens to be the season and the year I was born) but his
story begins a little bit before that. Perez had graduated from high
school and was working as a bank teller in 1972 and ’73 when a high
school friend brought him to a comic book convention. Perez describes
himself as a self-taught artist, but he brought his portfolio along
with him anyway. He showed it to several editors and companies and
received some fairly harsh criticism. Marv Wolfman, then an editor a
Marvel, said that he didn’t know anatomy or perspective. Neal Adams,
the head of Continuity Studios, told him to quit inking his own work
because he obviously didn’t know how. (1)
Perez went home with the expressed purpose of proving his critics
wrong. He could draw anatomy. He did know how to ink. But by trying to
prove them wrong, he ended up proving them right. His anatomy,
perspective, inking, everything improved as he worked harder on his
Meanwhile, at least one other person showed some faith in him. Marvel
artist Rich Buckler had also seen George Perez’s portfolio and
remembered the young artist. When he needed help on a project, he gave
Perez a call. George Perez completed two pages of a Deathlok story for
Astonishing Tales #25, which was published with a cover date of August,
1974. Buckler was happy with how that project turned out and continued
to throw small jobs Perez’s way. Perez even worked as an uncredited
assistant for Buckler on Giant-Size Fantastic Four #3, which was
published in November of that same year. Perez describes that Fantastic
Four story as his big break into the industry. (2)
Even though he didn’t receive a credit for the Fantastic Four story,
Perez did garner the notice of the editors at Marvel Comics. He was
soon receiving work on his own merit. Superheroes were in a bit of a
slump at the time, and other genres like monster stories and kung fu
were on the rise. Perez got to do a bit of both. He was assigned “The
Sons of the Tiger” back-up feature in “Deadly Hands of Kung-Fu”
beginning in issue 6 (November, 1974) and then the Man-Wolf series in
“Creatures on the Loose” (starting with #33, January 1975). Since one
story was a back-up feature and the other title was bi-monthly, Perez
was able to work on both series at the same time.
[ Read more The Many Paths of George Perez, Part One
From Vu, special thanks to Mark Metz
| December 7, 2003 | Wizard World Texas Program Book
There is a two-page article and checklist on Wizard World's Texas Convention Program Book (2003).
WIZARD WORLD TEXAS CONVENTION PROGRAM 2003
FANTASTIC FOUR #164
THE DEADLY HANDS OF KUNG FU #6
JUSTICE LEAGUE OF AMERICA #184
NEW TEEN TITANS #1
CRISIS ON INFINITE EARTHS #1 (of 12)
INCREDIBLE HULK: FUTURE IMPERFECT #1 (of 2)
AVENGERS vol 3, #1
GUEST OF HONOR 2003: GEORGE PEREZ
published in WIZARD WORLD TEXAS CONVENTION PROGRAM 2003 (CA)
transcribed by Vu
comic artist working today deserves the title of "living legend," that
artist is George Pérez. How man citizens in the kingdom of comic
creators have worked steadily over the last 30 years, growing more
popular with each passing?
THE 1970s After an understated debut on Marvel Comics's Astonishing Tales #25
way back in 1973 - the first appearance of Deathlok, by the way - Pérez
found he could write his own ticket, quickly jumping on titles like Avengers, Fantastic Four, Deadly Hands of Kung-Fu and Justice League of America.
THE 1980S The defining decade of Pérez's career, not only did the '80s see the debut of the hugely popular New Teen Titans
- co-created with writer Marv Wolfman - and enduring villains like
Deathstroke the Terminator and Brother Blood, it saw Pérez take on half
the task of rewriting the reality of the DC Comics universe, Crisis on Infinite Earths simplified the chaos of DC continuity, killing off Supergirl and the Flash and making way for their modern successors. From Crisis,
Pérez went straight to reworking the story of Wonder Woman, lending his
writing skill as well as his art to the new, more mythology-centered
character if there was one dark spot on the Pérez decade, it was the
lost dream of the JLA/Avengers crossover…
THE 1990s A vision of the last days of the green goliath in Hulk: Future Imperfect
with writer Peter David could stand alone as an artist's project of the
decade. But Pérez, with sleek, bright art and an overwhelming need to
draw every Avengers that has ever been, went on to relaunch the Avengers with Kurt (Marvels)
Busiek as the '90s neared their close. More than 20 years after his
start, Pérez transitioned easily into the new millennium and found a
whole new generation of comic fans waiting for him.
As he near the half-century mark, George Pérez shows no signs of going
gracefully into that good night (or whatever old comic artists go).
With new, fantasty-themed art for such CrossGen books as CrossGen Chronicles and Solus, he's breaking new territory - even for him. And with the blockbuster success of JLA/Avengers, he's finally realized a dream nearly 20 years in the making.
ESSENTIAL PEREZ READING
In nearly 30 years in comics - THIRTY!-
George Pérez has probably drawn every character you've ever heard of
and a lot you haven't.
And written a few too. While it's impossible to show 'em all, here are
some of the highlights you might want to pick up from dealers at the
show. Thanks to GeorgePerez.com for the checklist; you can find a complete list of George's work there.
| February 1, 2003 | Heritage Auction (Feb 03)
is having their auction this weekend. Among some of the Pérez-related
auction are his first published professional comic book art in ASTONISHING TALES #25 (Aug 74). The other interesting item is the 30 cent variant to INHUMANS #4:
INHUMANS #4 (variant)
The Inhumans #4 35 Cent Price Variant (Marvel, 1976) CGC NM 9.4 White pages.
While the vast majority of the copies of this issue sport a 25 cent
cover price, this is one of the scarce variants that was used to test
whether the public was ready to accept a 5 cent price increase. These
30 cent editions were only distributed in a few cities and high-grade
copies are exceptionally difficult to locate. Try to find another!
Overstreet values on these issues are extremely conservative compared
to what these copies actually sell for. George Perez art.