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ASTONISHING TALES #25 (Aug 1974) Marvel Comics

cover:  Rich Buckler
Klaus Janson 
ASTONISHING TALES #25
Date: Aug 1974
Cover Price: $0.25
Publisher: marvel.com

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    • Buy One Get Four Free Disney Infinity Figures From Vu This has nothing to do with George Perez, but I thought some of you could benefit from this recent deal / sale.  Disney stopped producing figures for their game ...
      Posted by Vu Nguyen
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    Credits
    "A Cold Knight's Frenzy" (15 pages)/Untitled (2 pgs)
    writer:  Rich Buckler
    Doug Moench
    D.M. DeMatteis
    art:  Rich Buckler
    George Perez
    Mike Esposito
    colors:  G Wein
    letters:  A Kaecki
    editor:  Roy Thomas
    Information from vu   
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    Repost: Fallcon 2003

    posted May 20, 2017, 9:41 PM by Vu Nguyen [ updated May 20, 2017, 9:43 PM ]

    With the recent death of Rich Buckler, I thought I'd repost this Fallcon 2003 report.  When I restarted the George Perez Website, all entries prior to 2008 were lost to the internet... I do have backup of the entire original website on my computer, so here is a repost about Bucker's appearance.

    >>>
    October 5, 2003 | Fallcon 2003


    From Vu

    I haven't been to Minnesota's Fallcon Comic Book Convention since they moved to the Minnesota State Fair Grounds, so it's been a good one or two years. Things have certainly changed, the biggest difference is that there were a lot of exhibitors, vendors, companies, and artists (as seen in the overview photograph).

    I did feel sorry for the exhibitors who were stuck in the "Batcave" which were colder, damper, and (what seems like) half-lit. I asked one of the vendor why they got the bad end of the stick, and basically it was because they had applied for space very late in the stage of the convention and they got what was left over.

    I attended Rich Buckler & Mike Grell's Panel later in the day, in the "Danger Room". Since the place was an old theater, noises really carries well. Unfortunately, this goes for people who were talking in the back of the theater.

    Grell did most of the talking, he seems really excited about a possible up-coming movie adaptation of his creation, Jon Sable. His involve in the film only goes as far as his script (he cited that Hollywood in generaly does not want the writer's input after the script). If you grew up in the eighties, you would remember that NBC (?) actually aired about six or seven episode of Jon Sable! They changed it a little, but it's still pretty much the same character.

    There were a lot original artworks, which I suspects were donated for display by the owner of www.comicsfun.com, as I saw the Triton and Spectra artwork by George Pérez in frames. The "Celebrating 60 Years of Wonder Woman" included over 50 artists, but none of which included George Pérez's! My favorite WW sketches were Dan Clowes and Peter Gross (Death wearing WW's outfit).

    As for that one final photograph, I have to admit I am a bit of a Miracleman fan, and I had no idea that two-pack existed. I thought I'd share the information, in case someone out there wants one for their collection.

    OVERVIEW
    CELEBRATING 60 YEARS OF WONDER WOMAN
    SPECTRA (1975), art by George Perez
    RICH BUCKLER at the Minnesota's Fallcon Comic Book Convention (4-5 Oct 2003)
    RICH BUCKLER & MIKE GRELL PANEL
    SPAWN & MIRACLEMAN TWO-PACK (San Diego Comicon Exclusive)


    R.I.P. Rich Buckler

    posted May 20, 2017, 8:18 PM by Vu Nguyen [ updated May 22, 2017, 5:35 AM ]


    ASTONISHING TALES #25 (Aug 1974)
    Marvel Comics
    John writes:

    Bleedingcool.com said Rich Buckler died of cancer.  I saw Buckler and his wife at SpringCon (Minneapolis) years ago, nice guy.  I happened to be in Paris just prior and mentioned I saw his gallery exhibition while there, which knocked him out.


    Vu writes:

    The first time I saw Rich Buckler, he was at Fallcon 2003 (04 October 2003). I rarely take photos with artists, celebrities, or musicians - but I had to get one with Rich because I knew that Buckler was the guy that gave George Perez his first professional break.  R.I.P. 

     
    George Perez, in an interview in Wizard #35, talked about how he accidentally got into the business:

    I got in with [Factor Unknown], but meanwhile Sal Quartuccio [now head of Sal Q Productions] had shown my stuff to [artist] Rich Buckler. Rich need an assistant and called me up with an offer. I was working as a bank teller at the time.

    My first published pro work was on Rich's first issue of Deathlok, Astonishing Tales #25. He gave me a two-page cartoon sequence at the end showing how he and Doug Moench came up with Deathlok from discarded ideas in a trash pail. My art being what it was at the time, I penciled everything except the Deathlok figure.

    By being Rich's assistant, people at Marvel got to know me. And people like [editor] Jim Salicrup and [writers] David Kraft and Bill Mantlo saw my work, liked it, and got me my first work under my own name.George Tuska needed a break on the Man-Wolf feature in Creatures on the Loose and Dave Kraft liked working with me, so he asked me to stay. Around the same time, I was given a fill-in on the Sons of the Tiger feature in Deadly Hans of Kung Fu #6, but Bill Mantlo asked for me to stay on as well.

    Thanks to them, I was given regular work fairly quickly. That was around 1974, only two years out of high school. Within six months after that, Rich Buckler fell behind. Since I was Rich's assistant, they asked me to pencil what was supposed to be a Fantastic Four annual and turn into two issues of the regular book [#164-#165].

    George Perez and Rich Buckler was last seen together in ALBUQUERQUE COMIC CON 2014.



    "Project Deathlok" in Agent of S.H.I.E.L.D.

    posted Feb 8, 2014, 7:29 PM by Vu Nguyen


    ASTONISHING TALES #25 (Aug 1974)
    Marvel Comics
    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".


    Deathlok to appear on Marvel's Agents of S.H.I.E.L.D.
    posted Jan 24, 2014, 3:06 PM by Vu Nguyen


    ASTONISHING TALES #25 (Aug 1974)
    Marvel Comics
    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 them?

    "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

    From winterfell.blogs.com/fluitnotes


    GIANT-SIZE FANTASTIC FOUR #3 (Nov 1974)

    ASTONISHING TALES #25 (Aug 1974)
    Marvel Comics

    The Many Paths of George Perez, Part One
    July 24, 2009 by Chris Fluit

    101561-45495-george-perez_large 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 craft.

    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 ]



     December 7, 2003 | Wizard World Texas Program Book
    From Vu, special thanks to Mark Metz (email)

    WIZARD WORLD TEXAS CONVENTION PROGRAM 2003 (Nov 2003)

    ASTONISHING TALES #25 (Aug 1974)
    Marvel Comics

    FANTASTIC FOUR #164 (Nov 1975)
    THE DEADLY HANDS OF KUNG FU #6 (Nov 1974) JUSTICE LEAGUE OF AMERICA #184 (Nov 1980) NEW TEEN TITANS #1 (Nov 1980)
    CRISIS ON INFINITE EARTHS #1 (of 12) (Apr 1985) INCREDIBLE HULK: FUTURE IMPERFECT #1 (of 2) (1992) AVENGERS vol 3, #1 (Feb 1998)
    There is a two-page article and checklist on Wizard World's Texas Convention Program Book (2003).

    >>>
    GUEST OF HONOR 2003: GEORGE PEREZ
    published in WIZARD WORLD TEXAS CONVENTION PROGRAM 2003 (CA)
    transcribed by Vu

    If any 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.

    TODAY 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

    (excerpt)

    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)
    From Vu
    Heritage Comics 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.

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