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25.03.2014 admin
To see our content at its best we recommend upgrading if you wish to continue using IE or using another browser such as Firefox, Safari or Google Chrome. The San-Francisco-based scheme to create a huge searchable catalogue of information about every book in the world already has more than 23 million books in its system and draws information from 19 major libraries. Marvel Comics: 75 Years of Cover Art is a beautiful 319 pages of glorious comic covers throughout the years.
All the famous covers are here: Amazing Fantasy 15, Fantastic Four 1, and Hulk 1 with bite-sized blurbs about who drew it and the purpose behind it. A few beefs I need to get out of the way: if you are a huge fan of the Golden Age era you’ll be left a little underwhelmed as only 15 covers are shown. A book this beautiful shouldn’t have factual errors in it, they stick out like a sore thumb – I’m pretty sure Kevin Smith didn’t write Daredevil in 1988. Marvel Comics: 75 Years of cover Art really should be called Marvel Superhero Covers as there’s much missing.
Marvel Comics: 75 years of Cover Art retails for $50, but I managed to get one online for $30.
I was tempted to pick up those DK historical books when I saw them cheap at Costco but I noticed errors in them as well so I passed. 75 Years of Marvel: From the Golden Age to the Silver Screen for $200 (but $115 from Amazon preorder) out December 1st.
Esera Tuaolo toiled for many years as a 300-pound defensive lineman in the ultra-macho National Football League.
There are massive gaps in my collections that every once in a while I feel the need to fill. Although the images are vibrant and stunning, its real strength is in understanding the subtlety and absurdity of what makes a memorable cover.
What I really enjoyed were the facts I didn’t know, or things that I noticed but flew over my head. A two page spread with mini bio for Kirby, Ditko, Sal and John Buscema, John Byrne and Romita Sr.
Unfortunately, this book comes with two prints and as such is wrapped in a cellophane film that prevents you from perusing it in bookstores.
I'm a huge fan of all things comics but I've taken a keen interest in the history of collecting.
DK has come out with so many of them that I’m beginning to run out of space to put them.

Other interests include Downton Abbey, heat lightning storms, Harry Potter land and (begrudingly) one orange tabby. To make matters worse I go through this strange collector phase where I’ll focus on a theme, artist, character or cultural significance and just scour store bins looking to finish my set.
Case in point: X-Men 112 by George Perez and Dave Cockrum is featured and discusses that the prominence of Wolverine on the cover was a result of John Byrne (interior artist) wanting a fellow Canadian to play a larger role in the comic. Horror of the 70s is reduced to a few Dracula covers and the odd Werewolf by Night and Boris Vallejo has only two covers shown in the Bronze Age chapter; neither of them are Conan. There are a few times where the title features prominently into the cover’s theme (the Hulk) but that got me thinking about the titles in general – specifically font choice and placement. Now in no way do I minimize the work it takes to earn $115 , but that is the reality of the day. NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. For the past few years I’ve really been focused on comics that have some cultural significance to them – if not in pop culture then at least within the comic community.
It’s a nice concept to feature a spotlight of Marvel’s better known artists; however, I found it brief and left me wanting more, not in the good way.
It’s not a huge issue but it feels off when I’m reading about comics in the early 2000s only to jump to early 90s then to mid-80s and back to late 2000s. Yes, these books are meant to be light and mostly visual for my coffee table but their credibility is lost on me.
We, the Atlanta Falcons, faced the Denver Broncos led by their superstar quarterback John Elway. In all fairness one could probably write a book on these artists alone, its brevity only highlighted who was not included. A perfect example is Lobo #1 from Dell comics (as seen on Undervalued Spotlight #44), the first comic to feature a black character. All of my favourite titles are robustly represented here and even a few I hate but have gorgeous covers nonetheless.
They recently came out with one for Spider-Man that was well done and covered a lot of the issues I collected in the 80’s. I lined up at my usual position, nose guard, across from the Denver center, who was poised to snap the ball to Elway.
I’ve been able to grab a VF copy for about $30 but it’s interesting how many collectors and dealers haven’t the slightest clue this issue exists.

I had a recent conversation with my comic store where I was complaining about issues I’ve missed simply because Marvel placed the title on the bottom of the cover as opposed to the top and I’ve accidentally skipped them because of how he has his comic shelf built.
All the top artists are reproduced beautifully: Walt Simonson, Alex Ross, Neal Adams, George Perez, Todd McFarlane, Jim Lee, and so on (but noticeably absent is Rob Liefeld. And that’s okay because as much as I know about comics and comic history – what I don’t know can fill a warehouse! This is apparently not an original complaint and Marvel is aware of it – they simply don’t care. Also, going through my long box takes longer as I now have to pull out every comic when I’m looking for a specific issue.
Sure there may be a few questionable choices but those are few and far between, and all are reasonably explained as to why they were included. Thankfully the internet has helped some, but I have to be honest, no source has helped my collecting like DK’s historical Marvel and DC books. And then there are covers that I always thought were beautiful, but didn’t realize it until I saw it here. There are several good ones but I just picked up a fantastic new book released in August that I’ve already read cover to cover. When the ball carrier is on the ground, someone on the defense must at least touch him so he's ruled down. Football gave me a college scholarship, the chance to buy a house for my mother, the opportunity to travel, and much more. My NFL career lasted nine years with five teams — the Green Bay Packers, Minnesota Vikings, Jacksonville Jaguars, Atlanta Falcons, and Carolina Panthers.
I'll go down in history as the first player to sing the national anthem and then start an NFL game, the first rookie nose guard to start all sixteen games, and the last guy to "tackle" John Elway in his storied Hall of Fame career.
I struggled to survive the combative, macho world dominated by a culture that despised who I really am. Had opponents and teammates known I was gay, they would have mocked me the way I heard them ridicule others with sexual slurs. It's rough down in the trenches, where linemen weighing more than three-hundred pounds hurl themselves at one another in brutal hand-to-hand combat, but it is nothing compared to the pain I kept buried inside so I could play out my dream.

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