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| {{Short description|American comic book artist}} | |||
| ] | |||
| {{Infobox comics creator | |||
| '''Giovanni Natale Buscema''' was born on December 11 1927 in Brooklyn, New York (a few months earlier than '''Frank Frazetta''' , also a Brooklyn native). He showed an interest in drawing at an early age, copying comic strips such as '''Popeye'''. In his teens he had an interest in superhero comic books as well as appreciating the classic adventure strips, notably Hal Foster's Tarzan and Prince Valiant, Alex Raymond's Flash Gordon, Milton Caniff's Terry and the Pirates, and Burne Hogarth's Tarzan. He also had an interest in the illustrators of the period such as Dean Cornwell, Colby Whitmore, Al Dorne, and Robert Fawcett. His artistic interests extended to the fine arts, copying works from Italian Renaissance artists in particular. | |||
| | image = John Buscema 1975.jpg | |||
| | image_size = | |||
| | caption = Buscema in a 1975 Marvel publicity photo | |||
| | birth_name = Giovanni Natale Buscema | |||
| | birth_date = {{Birth date|1927|12|11}} | |||
| | birth_place = ], ], U.S. | |||
| | death_date = {{Death date and age|2002|1|10|1927|12|11}} | |||
| | death_place = {{nowrap|], U.S.}} | |||
| | cartoonist = | |||
| | write = | |||
| | pencil = y | |||
| | ink = y | |||
| | letter = | |||
| | color = | |||
| | alias = | |||
| | notable works = '']''<br>'']''<br>'']''<br>'']''<br>'']''<br>'']'' | |||
| | awards = ], 1968, 1969<br />], 1974<br />], 1977<br />], 1978<br />] Hall of Fame, 2002 | |||
| | nonUS = | |||
| }} | |||
| '''John Buscema''' ({{IPAc-en|b|j|uː|ˈ|s|ɛ|m|ə}} {{respell|bew|SEM|ə}};<ref>{{cite AV media|url=https://www.youtube.com/watch?v=f3y6k_vk_Vg | title=How To Draw Comics The Marvel Way part=1|time=1:34|via=YouTube}}{{cbignore}}{{Dead YouTube link|date=February 2022}}</ref> born '''Giovanni Natale Buscema''', {{IPA|it|dʒoˈvanni naˈtaːle buʃˈʃɛːma|lang}}; December 11, 1927 – January 10, 2002)<ref name=ssdi> for Buscema, John N., ] 108-20-9641.</ref> was an American ] ] and one of the mainstays of ] during its 1960s and 1970s ascendancy into an industry leader and its subsequent expansion to a major ] ]. His younger brother ] is also a comic book artist. | |||
| Buscema is best known for his run on the series '']'' and ''The ]'', and for over 200 stories featuring the ] hero ]. In addition, he ] at least one issue of nearly every major Marvel title, including long runs on two of the company's top magazines, '']'' and '']''. | |||
| Buscema graduated from Manhattan’s high school of Music and Art. He also took night lessons at the Pratt Institute as well as life drawing classes at the Brooklyn Museum. While training as a boxer, he began painting portraits of boxers and sold some cartoons to the Hobo News. With this fairly modest art training, Buscema endeavoured to seek work as a commercial illustrator while doing various odd jobs. Lacking in experience to crack the commercial art market at the time, he eventually took a look at the comic book field, thinking it an easier field which would enable him to eventually get more schooling in order to become a commercial illustrator. In 1948, he got his foot in the door by landing a staff job with Stan Lee at the Timely Comics bullpen (with artists such as Syd Shores, Carl Burgos and Mike Sekowsky. Gene Colan had been hired two weeks earlier). | |||
| He was inducted into the ] in 2002.<ref>{{cite web|url=http://www.hahnlibrary.net/comics/awards/eisner02.php |publisher=Hahn Library Comic Book Awards Almanac |title=2002 Will Eisner Comic Industry Awards |archive-url=https://web.archive.org/web/20100420114301/http://www.hahnlibrary.net/comics/awards/eisner02.php |archive-date=April 20, 2010 |url-status=live}}</ref> In October 2024, Buscema was inducted into the ] Hall of Fame.<ref name=NYTimes10.11.24>{{cite web|url=https://www.nytimes.com/2024/10/11/arts/harvey-awards-hall-of-fame.html|author=]|title=Harvey Awards Inducts 5 Comic Creators to Hall of Fame|newspaper=]|language=en-US|url-status=live|date=October 11, 2024|access-date=October 12, 2024|archive-date=October 12, 2024|archive-url=https://archive.today/20241012064817/https://www.nytimes.com/2024/10/11/arts/harvey-awards-hall-of-fame.html}}</ref> | |||
| == The 40’s == | |||
| ==Biography== | |||
| ---- | |||
| ===Early life and career=== | |||
| Buscema spent a year in a half as the youngest artist in the Timely bullpen (until it was dissolved) with a steady diet of crime, romance and western (end even western-romance) stories. An early highlight is his work on the '''Tex Morgan''' title (#'s 4,5,6,7). His work during this period is clearly novice quality, although not without signs of strong draftsmanship. | |||
| ]' ''Man Comics'' #1 (Dec. 1949), one of Buscema's earliest recorded comic-book covers]] | |||
| Born in ], New York City, from ] parents who emigrated from ], ],<ref>{{Cite web|url=http://www.freetimemagazine.it/wp-content/uploads/2017/03/freetime-58-web-97.jpg |title=Tina Colombo racconta suo zio John Buscema, disegnatore per la Marvel / Tina Colombo talks about her uncle, Marvel illustrator John Buscema |last=Crepaldi |first=Silvia |date=March 2017 |page=97 |language=it |archive-url=https://archive.today/20170407121643/http://www.freetimemagazine.it/wp-content/uploads/2017/03/freetime-58-web-97.jpg |archive-date=April 7, 2017 |url-status=live |access-date=2017-04-07 |quote=Mio nonno Giovanni ... sposò mia nonna Concetta, pozzallese e si trasferì a Pozzallo dove faceva il barbiere. Emigrò in America come tanti, ma partì solo ... / My grandfather Giovanni ... married my grandmother Concetta and moved to Pozzallo where he was a barber. He emigrated to America like so many others ...|work=Freetime}}</ref> John Buscema showed an interest in drawing at an early age, copying ]s such as '']''.<ref name=quart>{{cite book|last1=Quartuccio|first1= Sal|last2= Keenan|first2=Bob|title=The Art of John Buscema|location= New York, New York|publisher= Sal Q Productions|year= 1978|page= Preface}}</ref> In his teens, he developed an interest in both ] comic books and such ] comic strips as ]'s '']'' and '']'', ]'s ''Tarzan'', ]'s '']'', and ]'s '']''.<ref>{{cite book|author-link=J. David Spurlock|last1=Spurlock|first1= David J.|first2= John |last2=Buscema|title=John Buscema Sketchbook|location= Lebanon, New Jersey|publisher=Vanguard Productions|year= 2001|pages=60–61|isbn=1-887591-18-4}}</ref> He showed an interest in ] of the period, by such artists as ], ], ], ], ], and ].<ref>Spurlock, p. 27</ref> | |||
| Buscema graduated from ]'s ]. He took night lessons at ] as well as ] classes at the ].<ref>{{Cite journal|last=Irving|first=Christoper|title=The Life of Legendary 'Big' John Buscema|journal=]|issue=21 |date=August 2002|location= Raleigh, North Carolina |publisher= ]|page= 5–B}}</ref> While training as a ], he began painting portraits of boxers and sold some cartoons to '']''.<ref name=quart /> Seeking work as a commercial illustrator while doing various odd jobs, Buscema found himself instead entering the comic book field in 1948,<ref>{{cite web |url= http://www.lambiek.net/artists/b/buscema_john.htm |date=December 28, 2007|publisher= ]|archive-url= https://web.archive.org/web/20140219064715/http://www.lambiek.net/artists/b/buscema_john.htm |archive-date=February 19, 2014|url-status= live |title=John Buscema }}</ref> landing a staff job under ] and ] ] at ],<ref>{{cite book|last= Sanderson|first= Peter|author-link= Peter Sanderson|editor-last= Gilbert|editor-first= Laura|chapter= 1940s|title= Marvel Chronicle A Year by Year History|publisher= ]|year= 2008|location=London, UK|page= 39|isbn=978-0756641238|quote= After answering a newspaper ad, John Buscema was hired by editor Stan Lee to be a staff artist.}}</ref> the forerunner of ]. The Timely "bullpen", as the staff was called, included such fellow staffers as established veterans ], ], ], ], and ]. Fellow newcomer ], hired roughly two months earlier,<ref name="steranko-a">], in Spurlock, p. 5</ref> recalled that "... John never seemed very happy in comics ... there always seemed to be something else he really wanted to do."<ref>{{cite book|last=Field|first=Tom|title=Secrets in the Shadows: The Art & Life of Gene Colan|year= 2005|publisher= TwoMorrows Publishing|location= Raleigh, North Carolina|isbn= 978-1893905450|page= 92}}</ref> | |||
| == The 50’s == | |||
| ---- | |||
| In the early 50's Buscema (with a brief stint in the army in 1951 - honorable discharge due to ulcer. He married in 1953) continued to work freelance for Timely/Atlas as well as branching out to other publishers (Ace, Hillman, Orbit, Quality, St. John, Ziff-Davis), continuing in the crime, romance, western vein. Highlights of the period can be found especially with Our Publications/Orbit on such titles as Love Diary (#'s 31-39, including all covers), Love Journal (#’s'14-22 with most covers, Wanted Comics (#'s 47-53 including most covers) and the Westerner (#’s 28, 29, 31, 33-37, 40), featuring Nuggets Nugent, Wild Bill Pecos and Lobo the Wolf Boy. | |||
| His first recorded credit is penciling the four-page story "Till Crime Do You Part" in Timely's ''Lawbreakers Always Lose'' #3 (Aug. 1948).<ref name=gcd /> He contributed to the "real-life" dramatic series ''True Adventures'' and ''Man Comics'' (the premiere issue of which sported one of Buscema's earliest recorded comic book covers), as well as to ''Cowboy Romances'', ''Two-Gun Western'' (for which he drew at least one story of the continuing character the ]), '']'', and '']''.<ref name=gcd>{{gcdb|type=credit|search=John+Buscema|title=John Buscema}} from the original December 5, 2011.</ref> Until the bullpen was dissolved a year-and-a-half later, as comic books in general and superhero comics in particular continued their post-war fade in popularity, Buscema<!--, the youngest member of the bullpen,--> ] and ] in a variety of genres, including ] and ].<ref name="steranko-a" /> | |||
| Buscema's Atlas work drops off as the comic industry shrinks after the early 50's. It is a credit to his talent that he manages to continue working in comics for the better part of the decade, landing steady work mainly with Western/Dell. Of note for this period is his work on Roy Rogers Comics (starting in 1954 with a long run of stories, #'s 74-97; 104-108). AC Comics have reprinted a number of those stories and describe Buscema as the best Roy Rogers artist. Moreover, in 1956, he squeezes in a brief first superhero effort on Charlton's Nature Boy, (#'s 3,4). | |||
| ===1950s=== | |||
| His work up to the mid-50's is strong, with solid draftsmanship, but compared to the top golden age artists of EC and DC, it perhaps lack the impact and flair of the best of those, possibly because he didn’t necessarily have a passion for the comic book medium per se, as was the case with many other top golden age artists. Nonetheless, Buscema next produces some of his finest work of the decade with a series of western, war, and sword and sandal film adaptations for the Four Color title. The peplum genre is especially suited to his style and could be considered a good preparation for his later work on Conan. The trademark Buscema power, grace, finesse and energy of his later work is very much apparent in these, although in a more subdued way. | |||
| <!-- Deleted image removed: ]'' a.k.a. '']'' #1006 (July 1959). Art by Buscema.]] --> | |||
| Buscema married in 1953.<ref>Quartuccio, Preface</ref> He continued to freelance for Timely, by now known as ], as well as for the publishers ], ], Our Publications/Orbit-Wanted, ], ], and ].<ref name=gcd /> | |||
| Buscema's mid-1950s work includes ]' ''] Comics'' #74–91 (Feb. 1954 – July 1955) and subsequent ''Roy Rogers and Trigger'' #92–97 and #104–108 (Aug. 1955 – Jan. 1956 & Aug.–Dec. 1956); and the ] series ''Ramar of the Jungle'' and ''Nature Boy'' — the latter, Buscema's first ] work, with a character created by himself and ] co-creator ].<ref name=gcd /> | |||
| 684 Mar 1956 (“Helen of Troy”, 34 pages), | |||
| Buscema next produced a series of ], ], and ] film adaptations for Dell's '']'' series. Buscema recalled, "I did a bunch of their movie books ... that was a lot of fun. I worked from stills on those, except for ''The Vikings''. ... I think one of the best books I ever did was ''Sinbad the Sailor''."<ref>{{Cite journal|last=Peel|first= John|title=John Buscema|journal=Comics Feature|issue=31 |date= September–October 1984}}</ref> | |||
| 762 Jan 1957 (“The Sharkfighters”, 34 pages), | |||
| He drew at least one issue of the radio, film, and TV character the ] for Dell in 1957,<ref name=gcd /> as well as one- to eight-page biographies of ] through ] for that company's ] ''Life Stories of American Presidents''.<ref> at the ]</ref> | |||
| 775 Mar 1957 (“Sir Lancelot and Brian”, 34 pages), | |||
| During a late 1950s downturn in the comics industry, Buscema drew occasional ], ], and ] stories for Atlas Comics' '']'', '']'', and '']'', and ]'s '']'', and '']''<ref name=gcd /> before leaving comics to do freelance commercial art.<ref name="Steranko, p. 6">Steranko, p. 6</ref> He began a freelance position for the New York City ] firm the Chaite Agency, which employed such commercial artists as ] and ].<ref name="Steranko, p. 6"/> | |||
| 794 Apr 1957 (“The Count of Monte Cristo”, 35 pages), | |||
| ===1960s=== | |||
| 910 Jun 1958 (“The Vikings”, 34 pages), | |||
| ]'' #41 (June 1967), Buscema's first issue of a signature series. Cover art by Buscema and ] ].]] | |||
| Buscema spent approximately eight years in the commercial-art field, freelancing for the Chaite Agency{{#tag:ref|This advertising agency, not to be confused with New York City's similarly named ] Agency or ], was responsible for, among other things, the ] for the ] movie '']'', per {{cite web|url=http://www.bfi.org.uk/filmtvinfo/library/eventsexh/past/2007_01_10_bond.html|publisher=British Film Institute|title=Exhibitions & Events: 'Poster Galore'|archive-url=https://web.archive.org/web/20100204082511/http://www.bfi.org.uk/filmtvinfo/library/eventsexh/past/2007_01_10_bond.html|archive-date=February 4, 2010|url-status=dead}}|group=Note|name=note1}} and the studio Triad, doing a variety of assignments: layouts, ]s, illustrations, paperback book covers, etc. in a variety of media. Buscema called this time "quite a learning period for me in my own development of techniques".<ref>Spurlock, p. 35</ref> | |||
| He returned to comic books in 1966 as a regular freelance penciller for ], debuting over ] layouts on the "], Agent of ]" story in '']'' #150 (Nov. 1966), followed by three "]" stories in '']'' #85–87 (Nov. 1966 – Jan. 1967).<ref name=gcd /> He then settled in as regular penciller of '']'', which would become one of his signature series, with #41 (June 1967). ''Avengers'' #49–50, featuring Hercules and inked by Buscema, are two of his "best-looking of that period", said comics historian and one-time Marvel editor-in-chief ], who wrote those issues.<ref>{{Cite journal|author-link=Roy Thomas|last=Thomas|first=Roy|title='Big John' & 'Roy the Boy'|journal=]|volume= 3|issue=15|date=June 2002|publisher= TwoMorrows Publishing|location= Raleigh, North Carolina|page= 5 (Conan cover side of flip-book magazine)}}</ref> Thomas and Buscema introduced new versions of the ]<ref>] "1960s" in Gilbert (2008), p. 128</ref> and the ]<ref>DeFalco "1960s" in Gilbert (2008), p. 132: "The new Vision, drawn by John Buscema, was a synthezoid – an android with synthetic human organs – who could control his density and discharge blasts of solar energy."</ref> during their collaboration on ''The Avengers''. | |||
| 927 (“Luke Short’s Top Gun”, 35 pages), | |||
| In order to adapt to the Marvel Comics style of superhero adventure, Buscema "synthesized the essence of Kirby's supercharged action figures, harrowing perspectives, monolithic structures, mega-force explosions, and mythological planetscapes into a formula that he instantly integrated into his own superbly crafted vision," wrote comics artist and historian ]. "The process brought Buscema's art to life in a way that it had never been before. Anatomically balanced figures of Herculean proportions stalked, stormed, sprawled, and savaged their way across Marvel's universe like none had previously".<ref>Steranko, in Spurlock, pp. 6–7</ref> | |||
| 944 Sep 1958 (“The 7th Voyage of Sinbad”, 33 pages), | |||
| Buscema would pencil an average of two comics a month in collaboration with such inkers as ], ], ], ], his younger brother ], ], and, occasionally, Marvel ] and sometime inker-] ]. John Buscema named Frank Giacoia, Sal Buscema, and Tom Palmer as his favorite inkers.<ref>{{cite journal|last=Cooke |first=Jon B. |title=John Buscema Interview |journal=The Jack Kirby Collector |issue=18 |publisher=TwoMorrows Publishing |date=January 1998 |location=Raleigh, North Carolina |url=http://twomorrows.com/kirby/articles/18buscema.html |archive-url=https://web.archive.org/web/20101204044706/http://twomorrows.com/kirby/articles/18buscema.html |archive-date=December 4, 2010 |url-status=live |access-date=November 25, 2008}}</ref> | |||
| 1006 Jul 1959 (“Hercules”, 34 pages), | |||
| ]. One of Buscema's most famous covers.<ref>{{Cite journal|last=Thomas|first= Roy|title=Drawing Was His Life!|journal=Alter Ego|volume= 3|number=15 |date=June 2002|page= 31 (Buscema self-portrait cover side of flip-book magazine)}}</ref>]] | |||
| 1077 (“The Deputy”, 34 pages), | |||
| Among Buscema's works during this period fans and historians call the ] are ''The Avengers'' #41–62 (June 1967 – March 1969) and ''The Avengers Annual'' #2 (Sept. 1968); the first eight issues of ''The Sub-Mariner'' (May–Dec. 1968); '']'' #72–73, 76–81, 84–85 (ranging from June 1969 – June 1970 providing layouts finished by either ] or ]), and two issues he himself finished over Romita layouts. Buscema drew the first appearance of the ] in ''The Amazing Spider-Man'' #78 (Nov. 1969).<ref>{{cite book|last= Manning|first= Matthew K.|editor-last= Gilbert|editor-first= Laura|chapter= 1960s|title= Spider-Man Chronicle Celebrating 50 Years of Web-Slinging|publisher= ]|year= 2012|location= London, UK|page= 49|isbn= 978-0756692360|quote= In this tale written by Lee and drawn by the team of John Buscema and Jim Mooney, window washer Hobie Brown became fed up with his dead-end job and used his inventive mind to craft the identity and weapons of the Prowler.}}</ref> | |||
| In August 1968, Buscema and Stan Lee launched a new title, ''The ]''.<ref>DeFalco "1960s" in Gilbert (2008), p. 131: "When Stan Lee was told to expand the Marvel line, he immediately gave the Surfer his own title ... Since Jack Kirby had more than enough assignments, Lee assigned John Buscema the task of illustrating the new book."</ref> That series about a philosophical alien roaming the world trying to understand both the divinity and the savagery of humanity was a personal favorite of Marvel editor-in-chief Stan Lee,<ref>{{cite book|author-link= Stan Lee|last= Lee|first= Stan|title= Son of Origins of Marvel Comics|url= https://archive.org/details/sonoforiginsofma0000lees|url-access= registration|publisher= ]/]|year= 1975|location= New York, New York|isbn= 978-0671221669|page= #?}}</ref> who scripted. Buscema penciled 17 of its 18 issues — the first seven as a 25¢ "giant-size" title at a time when comics typically cost 12¢. "Beautifully drawn by John Buscema, this comic book represented an attempt to upgrade the medium with a serious character of whom Lee had grown very fond," assessed comics historian ].<ref>{{cite book|last = Daniels|first = Les|author-link = Les Daniels|title = Marvel: Five Fabulous Decades of the World's Greatest Comics|publisher = ]|year= 1991|location= New York, New York | |||
| 1130 (“The Deputy”, 35 pages), | |||
| |page = 139|isbn = 9780810938212}}</ref> Roy Thomas said Buscema considered ''Silver Surfer'' #4 (Feb. 1969), featuring a battle between the Silver Surfer and Thor, "as the highpoint of his Marvel work".<ref name="highpoint">{{Cite journal|last=DeFalco|first=Tom|title=Memories of Brother John|journal=Comic Book Artist|issue=21 |date=August 2002|location= Raleigh, North Carolina|publisher= TwoMorrows Publishing|page= 34-B (caption)}}</ref> Characters Buscema co-created in ''The Silver Surfer'' include the long-running arch-demon ] in issue #3 (Dec. 1968).<ref>DeFalco "1960s" in Gilbert (2008), p. 133: "Created by editor Stan Lee and artist John Buscema, Mephisto hated the Surfer the moment he became aware of him."</ref> | |||
| Toward the end of the decade, Buscema drew some fill-in issues of superhero series and returned to familiar 1950s genres with a spate of supernatural mystery stories in '']'' and '']'', and romance tales in ''My Love'' and ''Our Love''. He then returned to his signature series ''The Avengers'' for 11 issues inked by Tom Palmer.<ref name=gcd /> | |||
| 1139 Nov 1960 (“Spartacus”, 10 pages plus 22 pages pencils, Mike Peppe inks). | |||
| ===1970s=== | |||
| also: | |||
| The creative team of Roy Thomas and John Buscema introduced new characters such as ] in ''The Avengers'' #75 (April 1970),<ref>] "1970s" in Gilbert (2008), p. 145</ref> ] in #80 (Sept. 1970),<ref>Sanderson "1970s" in Gilbert (2008), p. 146: "Red Wolf was Marvel's first Native American super hero."</ref> and the ] in #85 (Feb. 1971).<ref>Sanderson "1970s" in Gilbert (2008), p. 148</ref> With Jack Kirby's departure from Marvel in 1970, Buscema succeeded him on both of Kirby's titles: ''Fantastic Four'' (penciling issues #107–141, following ]) and '']''{{#tag:ref|Also called ''The Mighty Thor'' per {{Cite web | url=http://www.maelmill-insi.de/UHBMCC/thor.htm#S145 | title=''Thor'' (I) • ''The Mighty Thor'' (I) (1966–1996) |publisher= Unofficial Handbook of Marvel Comics Creators|quote= Series is named ''Thor'' in the ] information, but most covers have the title ''The Mighty Thor''.}}|group=Note|name=note2}} (#182–259).<ref name=gcd /> He additionally launched the feature "]" in '']'' vol. 2, #1 (Aug. 1970).<ref>Sanderson "1970s" in Gilbert (2008), p. 146: ''Amazing Adventures'' contained a series about the genetically enhanced Inhumans and a series about intelligence agent the Black Widow ... writer Gary Friedrich and artist John Buscema teamed up for the adventures of the Black Widow, the former Russian spy turned American superhero."</ref> | |||
| Life Stories of American Presidents (1957) | |||
| Marvel editor-in-chief ], who collaborated with Buscema on many stories up to this time, wrote, | |||
| Buscema's work for Western dried up in the late 50's as the industry takes a nosedive (His work on Indian Chief #'s 30-33 is notable later work). He manages to hang on a little while with mystery, fantasy, and science-fiction stories for Atlas (Tales to Astonish, Tales of Suspense, Strange Worlds) and ACG (Adventures into the unknown, Forbidden Worlds.) before seeking work in other fields. It is again a credit to Buscema's talent that he landed a freelance position at the Chaite Agency, an important New York commercial art studio, which employed top commercial artists such as Bob Peak and Frank MacCarthy. | |||
| {{blockquote|One thing I loved about Big John is the fact that I didn't have to spend time writing synopses for him. ... He'd always growl over the phone, 'Don't bother sending me any outlines, Stan. I hate to waste time reading them. Just tell what you've got in mind over the phone. I'll remember it.' So I'd tell him the story I wanted, and I have a hunch he didn't even write any notes while I spoke — because I spoke too fast — but it didn't matter. He remembered every last detail and the stories always came out perfect — at least as far as I was concerned.<ref>Irving, p. 6B</ref>}} | |||
| One could characterize Buscema 50's work as a period of gradual constant improvement; his work was continuing to improve as he left the field, which is somewhat different from other of his contemporaries (such as Williamson, Frazetta, Wood, Drucker, Toth, Heck, Ditko) who often experienced an earlier youthful artistic peak period. | |||
| Buscema began penciling '']'' with #25 (April 1973) following ]'s celebrated run, and debuted as the Conan artist of the black-and-white comics-magazine omnibus '']'' with issue #1 (Aug. 1974). He would eventually contribute to more than 100 issues of each title,<ref name=gcd /> giving him one of the most prolific runs for an artist on a single character. He additionally drew the ''Conan'' Sunday and daily ] newspaper ] upon its premiere in 1978,<ref>Thomas, "'Big John'", p. 14</ref> and even contributed some storyboard illustrations for the 1982 Conan movie,<ref>Thomas, "'Big John'", p. 15</ref> as well as painting four covers for the Conan magazines. In 2010, ] ranked Buscema's work on ''Conan the Barbarian'' seventh on its list of the "Top 10 1970s Marvels".<ref>{{cite web|url=http://www.comicsbulletin.com/columns/447/top-10-1970s-marvels/ |title=Top 10 1970s Marvels |first=Jason |last=Sacks |date=September 6, 2010 |publisher=] |archive-url=https://web.archive.org/web/20130801070005/http://www.comicsbulletin.com/columns/447/top-10-1970s-marvels |archive-date=August 1, 2013 |url-status=dead|access-date=August 3, 2013}}</ref> | |||
| == The 60’s== | |||
| ---- | |||
| Buscema spent around eight years in the commercial art field associated with the Chaite and Triad Studios, doing a variety of assignments: layouts, storyboards, illustrations, paperback covers, etc. in a variety of medium. Not much is known about his work from this period, but judging from the samples shown in the John Buscema Sketchbook (Vanguard Productions) it is of high quality, even by the top commercial art standards. According to Buscema: '...it was quite a learning period for me in my own development of techniques.' One can surmise that he gained a greater academic technique such as can be found in the Famous Illustrators correspondence course books (which features Buscema favourites Al Dorne, Robert Fawcett, and Harold Von Schmidt, among others) an influence that can later be seen in his 'How to Draw Comics the Marvel Way' book. | |||
| For about ten years, he would produce an average three to four books' worth of pencils a month, such as '']'' (1976)<ref>Sanderson "1970s" in Gilbert (2008), p. 176: "Seeking to create a new teenage Marvel super hero in the tradition of Spider-Man, writer Marv Wolfman and artist John Buscema presented Richard Rider, alias Nova."</ref> and '']'' (1977). In addition to his regular assignments he would pencil covers and fill-in issues of titles including '']'', '']'' (Marvel UK), '']'', '']'', '']'', '']'', '']'' and '']''. He also drew a story for the ] ] '']''.<ref name=gcd /> | |||
| Buscema returned to the comic book field in 1966 (he accepted an offer from Stan Lee which allowed him to cut down on his extensive commuting time) as a penciller of superhero adventures with Marvel Comics. He started with an episode of Nick Fury and three Hulk stories before settling in as the regular penciller on the Avengers with #41. Highlights of that early period are Avengers #'s 49, 50, two superb issues featuring Hercules that he inked as well. | |||
| Buscema contributed as well to Marvel's black-and-white comics magazines, including the features "]" in '']'' #1 (May 1971) and "]" in ''Rampaging Hulk'' #1 (Jan. 1977), and '']'' #1 and 3 (Aug. 1975, Jan. 1976). Other magazine work ran the gamut from ] (''Dracula Lives!'', ''Monsters Unleashed'', '']'') to ] (''Crazy'', ''Pizzaz'').<ref name=gcd /> | |||
| Buscema's return was solid, showing the benefits of his added illustration experience, although his style was not quite in sync with the dynamic dramatics being featured at Marvel. The catalyzing influence of Jack Kirby enters the picture as Buscema's illustrative style begins to display more powerful storytelling, design, composition, drama, action and overall impact. | |||
| Buscema left the ''Thor'' title for a time to launch the Marvel version of the ] character ] in 1977.<ref>Sanderson "1970s" in Gilbert (2008), p. 179: "Writer Roy Thomas and artist John Buscema created Marvel's new ''Tarzan'' series, based on author Edgar Rice Burroughs' character."</ref> Other licensed projects include a 72-page '']'' movie adaptation in an oversized "]" format with DeZuniga inking.<ref name=gcd /><ref>{{cite journal|last = Abramowitz|first = Jack|title = The Secrets of Oz Revealed|journal= ]|issue = 61|pages = 29–32|publisher = TwoMorrows Publishing|date = December 2012|location= Raleigh, North Carolina}}</ref><ref>{{cite book|last=McAvennie|first= Michael|editor-last=Dolan|editor-first=Hannah|chapter= 1970s|title= DC Comics Year By Year A Visual Chronicle|publisher=]|year=2010|location= London, UK|isbn= 978-0-7566-6742-9 |page= 165 |quote = The Yellow Brick Road from Munchkin Land to the Emerald City was also wide enough to accommodate DC and Marvel as they produced their first-ever joint publication ... Roy Thomas scripted a faithful, seventy-two page adaptation of Dorothy Gale's adventure, while John Buscema's artwork depicted the landscape of Oz in lavish detail.}}</ref> For ], which produced children's book-and-record sets, Buscema drew '']'' and Conan the Barbarian comics.<ref>{{cite web |url=http://www.bailsprojects.com/(S(sqjxmbzn5ohvis45jzd5sw45))/bio.aspx?Name=BUSCEMA%2c+JOHN |author-link=Jerry Bails |first1=Jerry |last1=Bails |first2=Hames |last2=Ware |title=Buscema, John |work=Who's Who in American Comic Books 1929–1999 |publisher=BailsProjects.com |archive-url=https://web.archive.org/web/20110727190821/http://www.bailsprojects.com/(S(sqjxmbzn5ohvis45jzd5sw45))/bio.aspx?Name=BUSCEMA,+JOHN |archive-date=July 27, 2011 |url-status=live}}</ref> He contributed some superhero drawings for ''Pro'', the ] official magazine (1970), and penciled some chapters of the first issue of '']'' featuring the rock group ] (1977).<ref name=gcd /> | |||
| Roughly coinciding with arrival of inker George Klein on the Avengers (#55), not to mention the counter-culture explosion, Buscema's artwork virtually explodes as he experiences something of an artistic flowering. He produces powerful tight and clean finished pencils for an average of two books a month in collaboration with fine inkers such as Klein, Frank Giacoia, Dan Adkins, Joe Sinnott, Sal Buscema, Tom Palmer, and John Verpoorten on the Avengers, Sub-Mariner, Silver Surfer, and others. All in all, it's a creative surge of roughly three years duration, where Buscema produces some of the medium's finest illustrative storytelling. | |||
| In 1978, small-press publisher Sal Quartuccio released ''The Art of John Buscema'',<ref>{{cite web|url=http://comics.lib.msu.edu/rri/qrri/qualit.htm#sal |title=Quartuccio, Sal |publisher=], Special Collections Division, Reading Room Index to the Comic Art Collection: "Qualities" to "Quartz" |location=East Lansing, Michigan |access-date=August 23, 2011 |archive-url=https://web.archive.org/web/20110813213635/http://comics.lib.msu.edu/rri/qrri/qualit.htm |archive-date=August 13, 2011 |url-status=live}}</ref> a retrospective that included an interview, previously unpublished sketches and drawings, and a cover that was also sold as a poster. | |||
| Buscema pencilled the Avengers with a vengeance until #62 (including the classic introduction of the Vision in #'s 57, 58 and several classic covers) while swimmingly pencilling the first eight issues of the Sub-Mariner, which he left to swing over to Amazing Spider-Man for 10 issues (with Jim Mooney / John Romita inks) and launched another new title, the Silver Surfer. Buscema's stellar pencils on the first 17 of 18 issues are considered classic and stands as a high-water mark in his career. Issues #3 (which introduces Mephisto), 4 & 5 are often singled out as highlights although the first seven issues (which were double-sized) are all outstanding, with the next seven also being of remarkable quality. Issue #4 in particular (where the Surfer battles Thor) is a Buscema landmark (with a classic cover) and is thought to be an attempt by Buscema to break away from the Kirby aesthetic and establish a monumentally sprawling, powerful style in his own right, with a more open page design and a more medieval, gothic approach to fantasy; with stunning results. | |||
| Buscema capped off the decade penciling writer ]'s three-issue ] epic-fantasy tale "Warriors of the Shadow Realm" in ''Marvel Super Special'' #11–13 (June–Oct. 1979).<ref name=gcd /> ] released an accompanying portfolio of six signed, colored plates from the story.<ref>{{cite web|last=Maillot |first=Michael |url=http://mike.jersey.free.fr/Buscema.htm |title=The John Buscema Checklist |publisher=Mike.Jersey.free.fr (fan site) |archive-url=https://web.archive.org/web/20110720222556/http://mike.jersey.free.fr/Buscema.htm |archive-date=July 20, 2011 |url-status=live}}</ref> | |||
| Aside from a few well-regarded fill-ins (Captain America #115, Captain Marvel #18, Sub-Mariner #’s 20, 24) Buscema caps off his golden period with a dazzling return to familiar 50's genres with a spate of mystery and romance stories (for Chamber of Darkness, Tower of Shadows, My Love, Our Love) and makes a return to the Avengers (with Palmer inks) for 11 issues. (With issues #74 & 75 being exceptional, #75 featuring the introduction of Arkon). | |||
| ====Teaching==== | |||
| In the mid-1970s, Buscema ran the John Buscema Art School, which advertised for students in the pages of many Marvel titles. Stan Lee made appearances as a guest lecturer at Buscema's school, and some of the school's graduates (including ] and ])<ref>"Cables of Champions", ''Champions'' #10 (Marvel Comics, Jan. 1977).</ref> went on to become professional cartoonists. Buscema later said that teaching the class was "very gratifying" but that having to make the 60-mile drive after a day's work was too exhausting, and ultimately forced him to give it up.<ref name="DAK62">{{cite news | last = Boatz | first = Darrel L. | date = November 1988 | title = John Buscema | work = ] | issue = 62 | pages = 25 | publisher = ]}}</ref> Buscema then collaborated with Lee on the book '']'' (], 1978), a primer on comic book art and storytelling based on the comic art classes Buscema had given a few years prior,<ref name="DAK62"/> and has remained in print for over 25 years,<ref>Spurlock, pp. 19–20</ref> in its 33rd printing as of 2007. | |||
| == |
===1980s=== | ||
| After drawing the first issue of ''The Savage ]'' (Feb. 1980),<ref>DeFalco "1980s" in Gilbert (2008), p. 197: "With the help of artist John Buscema, Lee created Jennifer Walters, the cousin of Bruce Banner."</ref> Buscema abandoned regular superhero work in order to spearhead art duties on all three ] titles. The popularity of the character spurred the release of a ] in 1982; Buscema provided pencils and inks for a 48-page movie adaptation.<ref name=gcd /> | |||
| ----] | |||
| He continued to tackle other high-profile projects such as a Silver Surfer story for '']'' #1 (Spring 1980), a ] story in '']'' #22 (Summer 1980), the ] biography ''Francis, Brother of the Universe'' (1980), the second '']'' team-up (1981),<ref>Manning, Matthew K. "1980s" in Dolan, p. 194: "In an oversized treasury edition carrying a hefty $2.50 price tag, the Man of Steel paired for the second time with Marvel's iconic web-slinger ... The issue came together thanks to the script of writer Jim Shooter, a bit of plotting assistance by Marv Wolfman, the pencils of longtime Marvel luminary John Buscema, and a veritable fleet of inkers."</ref><ref>{{cite journal|last = Greenberg|first = Glenn|title = Tabloid Team-Ups The Giant-Size DC-Marvel Crossovers|journal = Back Issue!|issue = 61|pages = 33–40|publisher = TwoMorrows Publishing|date = December 2012|location= Raleigh, North Carolina}}</ref> and an adaptation of the 1981 movie '']''.<ref name=gcd /> | |||
| With Jack Kirby's departure from Marvel in 1970, Buscema is called in to replace him on both of his flagship titles for some lengthy runs: Fantastic Four (#'s 107-141, Sinnott inks) and Thor (#'s 182-259, with various inkers such as Sinnott, Colletta, Dezuniga, and others (such as Verpoorten on the notable #200) thus cementing his status as the pre-eminent superhero penciller of that era. (Ironically Buscema claimed to have a nearly complete disinterest for superheroes, although this never showed in his work). | |||
| He left ''King Conan'' in 1982 after nine issues, although he remained with Marvel's Robert E. Howard franchise with a revival of the '']'' series for 10 issues, and left ''The Savage Sword of Conan'' in 1984 with #101 with a series of stories that he plotted himself. After pencilling the '']'' movie adaptation in 1984 and the ''Conan of the Isles'' graphic novel in 1987, he left ''Conan the Barbarian'' with #190 in 1987, ending a 14-year association with the character.<ref name=gcd /> | |||
| For various professional and commercial reasons, his style becomes more streamlined and less elaborate in the mid-70's, as his artwork displays a more direct Kirby influence (To the regret of many a Buscema fan). Nonetheless, Buscema was a veritable artistic juggernaut throughout that decade and is probably overall the most prolific, visible, and in demand artist of the 70's. | |||
| After nearly five years away from superheroes, except for the first two issues of the X-Men-related, four-issue miniseries ''Magik'' (Dec. 1983 – March 1984), Buscema returned to familiar ground as regular penciller on ''The Avengers'' from #255–300 (May 1985 – Feb. 1989). He was regular penciller on ''Fantastic Four'' for its 300th issue, during a 15-issue stint from #296–309 (Nov. 1986 – Dec. 1987). Additionally, he fit in the three-issue film adaptation '']'' (Nov. 1986 – Jan. 1987) and the four-issue miniseries '']'' (April–July 1987), starring a character he created with Stan Lee in ''The Silver Surfer''.<ref name=gcd /> | |||
| Buscema begins his distinguished run with writer Roy Thomas on Conan the Barbarian in 1973 with #25 following Barry Smith’s celebrated run. He debuts a second Conan series in double-sized B&W magazine format with Savage Sword of Conan in 1974. With Buscema at the drawing board, Conan became a successful mini-franchise in its own right, with Buscema contributing to over a 100 issues of each title (Conan the Barbarian from #25-190, SSOC #1-101, 190-210), one of the most prolific runs for an artist on a single character. He makes a brief foray into syndicated strips as he premieres the Conan Sunday and daily newspaper strip in 1978 and even contributed some storyboard illustrations for the Conan movie as well as painting four covers for the Conan magazines. | |||
| Buscema reteamed with Lee on the Silver Surfer himself with the 1988 <!--released as both hardcover and trade paperback, per http://www.comics.org/series.lasso?SeriesID=16851--> graphic novel ''Silver Surfer: Judgment Day'', self-inked and done entirely as full-page panels.<ref>{{cite book|last1= Lee|first1= Stan|author-link= Stan Lee|last2= Buscema|first2= John|title= Silver Surfer: Judgement Day|publisher= Marvel Comics|year= 1988|pages= 64|isbn= 978-0871354273}}</ref> That year he and inker ] drew a ] solo feature in the biweekly anthology ''Marvel Comics Presents'', followed by self-inked Wolverine series in that title. He pencilled the first 14 issues (Nov. 1988 – mid-Nov. 1989) of the first Wolverine ongoing series, self-inked on #7–8.<ref name=gcd /> ], who inked the last five issues of that run, recalled Buscema's pencil work as "the sturdiest foundation an inker or an embellisher could possibly hope to build on, and their beauty was not in their attention to fastidiously rendered minutiae, but instead were marvels of deceptive simplicity. Each page an example of grace, elegance and power."<ref>{{Cite journal|author-link=Bill Sienkiewicz|last1=Sienkiewicz|first1= Bill |display-authors=etal |title=Remembering Buscema: Over 25 of the Master's Peers Reminisce about John and his Art|journal= Comic Book Artist|issue= 21|date=August 2002|location= Raleigh, North Carolina|publisher= TwoMorrows Publishing|page=22B}}</ref> | |||
| Ernie Chua/Chan was the main inker on Conan the Barbarian in the 70’s, (except for a hiatus between #’s 44-69 which were inked by Tony DeZuniga, Dick Giordano, Tom Palmer, Steve Gan and others). Buscema’s work on the title consistently improves and develops producing some remarkably dynamic and powerful artwork and storytelling reaching a peak of sorts with the superlative issue #100 (which concludes the adaptation of REH’s Queen of the Black coast) or perhaps with the excellent #115 (featuring Red Sonja) which marks the departure of Roy Thomas. | |||
| ===Later career=== | |||
| Alfredo Alcala was the regular inker on SSOC until #24 and they produced some highly regarded stories, adapting the works of Robert E. Howard. Of note are ‘ Iron Shadows in the Moon’ (#4), ‘The Slithering Shadow ‘(#20), ‘Tower of the Elephant’(#24,). Tony Dezuniga becomes his regular inker with #26 (he also inked the highly regarded ‘A witch shall be born’, SSOC#5) producing some outstanding Conan literary adaptations, bringing that title to a peak of sorts which ends more or less with the departure of DeZuniga with #58. | |||
| Buscema began his sixth decade in the field by joining Roy Thomas for a return to ''The Savage Sword of Conan'' with #191 (Nov. 1991) for a 20-issue run. ''Conan the Rogue'', a ] Buscema plotted, pencilled, inked, and colored over a period of five years in his spare time appeared that same year.<ref>Thomas, "'Big John'", pp. 16–17</ref><ref> at the Grand Comics Database</ref> He both penciled and inked the graphic novel '']'' (Nov. 1993).<ref name=gcd /> | |||
| Buscema returned to ] with '']'' #23–30 (Jan.–Aug. 1994, self-inking #26–29), that title's 1993 ], and the 1994 graphic novel ''A Man Named Frank'', a ] Punisher ] tale. He pencilled the Punisher portions of 1994's '']'' team-up. No longer attached to a regular series after his ''Punisher'' run, he penciled and inked ''The Avengers Annual'' #23 (1994) and five more black-and-white Conan adventures, serving as that Marvel franchise's final artist on ''The Savage Sword of Conan'' with #235 (July 1995) and on the short-lived spin-off ''Conan the Savage'' with #10 (May 1996).<!--the cited databases list his raw credits; they don't need separate footnotes unless there's something controversial or disputed about them--> Through 1999, he penciled a variety of superhero comics; both penciled and inked a black-and-white short story for ''Shadows and Light'' (1998); and made a final return to Conan with the ''Death Covered in Gold'' three-issue miniseries (1999).<ref name=gcd /> | |||
| Buscema's pencils on Conan in the 70's are some his finest work as he develops an exciting new heroic adventure story style with the Sword and Sorcery genre producing stories which are a high-water mark in terms of comic book action, movement, power, expression, mood, and dynamics. | |||
| Buscema worked with ] for the first time in 2000, initially doing both pencils and inks on a "]" short story in '']'' #7 (Sept. 2000). He reunited with Stan Lee on the 2001 one-shot '']''.<ref name=gcd /> | |||
| At some point in the mid 70's, Buscema's productivity increased (to the chagrin of many Buscema fans) by opting to pencil mainly layouts (pencilled pages without the shading and rendering) as opposed to finished pencils. For about ten years, he would produce on average a staggering 3-4 books worth of pencils a month. | |||
| Due to his speed and versatility, on top of his regular assignments he would be called on to pencil fill-in jobs on numerous different titles : Captain America, Captain Britain(Marvel Uk),Daredevil, Frankenstein Monster, Sub-mariner and Doctor Doom (in Giant-Size Super villain Team Up) , Howard the Duck, the Warriors Three (in Marvel Spotlight), the Thing and Spider-Woman (in Marvel Two in One), Master of Kung Fu, Red Sonja, the Golem (in Strange Tales), Warlock, as well as a science-fiction story in Worlds Unknown and many covers for a variety of titles. | |||
| He finished the pencils on 2003's ''Superman: Blood of my Ancestors'', begun by ], who had since died, and had just signed on for a five-issue miniseries with Roy Thomas, ''JLA: Barbarians'',<ref name=gcd/> though he died after finishing the first issue.<ref name=nyt>{{cite news|last=Nash|first=Eric|url=https://query.nytimes.com/gst/fullpage.html?res=9D00EED8153AF93BA15752C0A9649C8B63|title=John Buscema, 74, Who Drew Classic Comic Book Characters|work=]|date=January 28, 2002|archive-url=https://web.archive.org/web/20121111091957/http://www.nytimes.com/2002/01/28/arts/john-buscema-74-who-drew-classic-comic-book-characters.html|archive-date=November 11, 2012 |url-status=live}}</ref><ref name=Guardian>{{cite web|url=https://www.theguardian.com/news/2002/apr/17/guardianobituaries|title=John Buscema Illustrator whose pen made superheroes masters of the universe|first=Paul|last=Gravett|date=April 16, 2002|location=London, UK|newspaper=]|archive-url=https://web.archive.org/web/20100205124037/http://www.guardian.co.uk/news/2002/apr/17/guardianobituaries|archive-date=February 5, 2010|url-status=live}}</ref> | |||
| He also contributed to Marvel's B & W magazines including the first issues of Rampaging Hulk (Bloodstone), Savage Tales (Ka-Zar) and Doc Savage as well as various issues of Dracula Lives!, Haunt of Horror (digest magazine, illustrations), Monsters Unleashed (Frankenstein), Tales of the Zombie(Simon Garth), and Tomb of Dracula. He even did some fine Mad-style humour work in Crazy and Pizzaz. | |||
| An 11 x 17-inch ] print of the late 1960s/early 1970s Avengers, penciled by Buscema and painted in ] by ] for the publisher ], was Buscema's last professional work.<ref name=BID2009>{{cite news|title=Big Bad John|author-link= Peter David|first=Peter|last=David| work=]|date= 2002}} Reprinted in {{cite book|author=David, Peter|title=More Digressions: A New Collection of "But I Digress" Columns|publisher= ]|year =2009|location= Des Moines, Iowa}}</ref> | |||
| He was also called on to launch several new titles, i.e. Amazing Adventures (Black Widow,1970), Nova (1976), Ms. Marvel (1977) and the She-Hulk (early 1980). | |||
| Buscema's passion for drawing was such that he continued to draw and sketch in his spare time, often on the back of comic book art pages, and these images form a considerable body of work in their own right. His brother Sal Buscema recalled, | |||
| Buscema leaves the Thor title (although will return for issues #272-285, Palmer and Stone inks) to launch the Marvel version of Tarzan in 1977. Having already done 13 issues of the Jungle-oriented Kazar (in Astonishing Tales, Kazar, and Savage Tales) his fine version of the Burroughs icon in the first three issues (which he pencilled and inked along with several covers) compares favorably with the great Tarzan artist in comic strips, comic books, and illustration, although he switches to only layouts for the rest of his 18-issue stint with many changes in inkers, giving mixed results. (Of note is his Tarzan Annual #1 with Steve Gan inks). | |||
| {{blockquote|This guy used to eat, sleep and breathe drawing. It didn't matter what was going on around him. He would get bored with it and start sketching. ... He just couldn't stop drawing. better than some of the stuff that he did on the front. ... He'd get a spark of inspiration and turn the page over and draw whatever was in his skull.<ref>Sal Buscema quoted in DeFalco, "Memories", p. 35-B</ref>}} | |||
| ==Personal life== | |||
| Other licensed projects Buscema tackled include a 72-page Wizard of Oz movie adaptation in Treasury Edition format with DeZuniga inks. (Apparently Buscema, having something of a photographic memory, was able to draw the entire book without reference except for character photos, based on his recollection of a viewing 25 years prior.) He even drew Star Trek, as well as Holo Man (both for Power records), not to mention some Star Wars covers for the UK magazine. He also contributed some superhero drawings for Pro, the NFL official magazine (1970) and even pencilled some chapters for the first issue of Marvel Comics Super Special Magazine featuring the rock group KISS (1977). | |||
| Buscema, who lived in ],<ref name=ssdi/> on ], at the time of his death, was married to Dolores Buscema, with whom he had a son, John Jr., and a daughter, Dianne.<ref name=nyt/> His granddaughter ] is a freelance illustrator and cartoonist, who started out as an inker for her grandfather.<ref> (official site). .</ref> | |||
| ==Death and legacy== | |||
| 1978 saw the publication of How to Draw comics the Marvel Way (Simon & Shuster 1978). Written with Stan Lee, this influential rock-solid primer on drawing and comic book storytelling fundamentals was based on the comic art classes Buscema had given a few years prior and is probably the best-selling book of its kind, still in print to this day. | |||
| Buscema was diagnosed with ], and died on January 10, 2002, at the age of 74.<ref name=nyt/><ref name=Guardian/> He was buried with an artist's ] in his hand.<ref name=BID2009/> | |||
| On October 11, 2024, the ] announced<ref>{{cite web|url=https://www.firstcomicsnews.com/the-harvey-awards-hall-of-fame-announces-inductees-for-2024/|title=THE HARVEY AWARDS HALL OF FAME ANNOUNCES INDUCTEES FOR 2024|publisher=First Comics News|language=en-US|url-status=live|date=October 11, 2024|access-date=October 12, 2024|archive-date=October 12, 2024|archive-url=https://archive.today/20241012135449/https://www.firstcomicsnews.com/the-harvey-awards-hall-of-fame-announces-inductees-for-2024/}}</ref> that Buscema was one of five comics creators to be inducted into the Harvey Awards Hall of Fame at the 36th annual Harvey Awards ceremony on October 18 at the ].<ref name=NYTimes10.11.24/><ref>{{cite web|url=https://comicbookclublive.com/2024/10/12/harvey-awards-hall-of-fame-2024-inductees/|author=Zalben, Alex|title=Harvey Awards Announce Hall Of Fame Inductees: Larry Hama, John Buscema, More|publisher=Comic Book Club|language=en-US|url-status=live|date=October 12, 2024|access-date=October 12, 2024|archive-date=October 12, 2024|archive-url=https://archive.today/20241012135136/https://comicbookclublive.com/2024/10/12/harvey-awards-hall-of-fame-2024-inductees/}}</ref> The other four inductees were ], ], ], and ]. Upon learning of the accolade, Buscema’s daughter, Dianne Buscema Gerogianis, stated, "We are honored on behalf of my father and wish to thank all who have selected him for the Harvey Awards Hall of Fame. Thank you for keeping his legacy alive."<ref>{{cite web|url=https://www.comicsbeat.com/nycc-2024-harvey-award-hall-of-fame/|author=]|title=NYCC '24: Five inducted into the 2024 Harvey Award Hall of Fame|publisher=]|language=en-US|url-status=live|date=October 11, 2024|access-date=October 12, 2024|archive-date=October 12, 2024|archive-url=https://archive.today/20241012134508/https://www.comicsbeat.com/nycc-2024-harvey-award-hall-of-fame/}}</ref> | |||
| An interview and many fine sketches and drawings appeared in the Art of John Buscema (S.Quartuccio) the same year (with a superb cover which was also sold as a poster). Buscema's passion for drawing was such that he continued to draw and sketch in his spare time (often on the back of comic book art pages) and these lively, masterful images form a considerable body of work in their own right. | |||
| ==Awards and accolades== | |||
| Buscema capped off a remarkably fruitful decade with some inspired finished pencils for Weirdworld/ Warriors of the Shadow Realm, a Tolkien-Style project in Marvel Comics Super Special Magazine #'s 11-13 (although the ornately detailed pencils were somewhat obscured by the inking and coloring). A six-plate portfolio was released by Pacific Distribution). | |||
| * 1968: ] for Best Full-Length Story, for Marvel Comics' '']'' #1: "Origin of the Silver Surfer", by Stan Lee and John Buscema (tied with ]' '']'' #79: "Track of the Hook", by ] and ]): also Best New Strip for ''The Silver Surfer''.<ref>{{cite web|url=http://www.hahnlibrary.net/comics/awards/alley68.php |title=1968 Alley Awards |publisher=Hahn Library Comic Book Awards Almanac |archive-url=https://web.archive.org/web/20131024235420/http://www.hahnlibrary.net/comics/awards/alley68.php |archive-date=October 24, 2013 |url-status=dead}}</ref> | |||
| * 1969: Alley Award for Best Full-Length Story for ''The Silver Surfer'' #5: "... And Who Shall Mourn for Him?", by Stan Lee, John Buscema, and Sal Buscema.<ref>{{cite web |url= http://www.hahnlibrary.net/comics/awards/alley69.php|title= 1969 Alley Awards |publisher= Hahn Library Comic Book Awards Almanac|archive-url= https://web.archive.org/web/20131024235605/http://www.hahnlibrary.net/comics/awards/alley69.php|archive-date= October 24, 2013|url-status= live}}</ref> | |||
| * 1974: ] for Best Penciller (Dramatic Division).<ref>{{cite web |url= http://www.hahnlibrary.net/comics/awards/shazam74.php|title= 1974 Academy of Comic Book Arts Awards|publisher= Hahn Library Comic Book Awards Almanac|archive-url= https://web.archive.org/web/20131212131116/http://www.hahnlibrary.net/comics/awards/shazam74.php|archive-date= December 12, 2013|url-status= live}}</ref> | |||
| * 1977: ] for Favourite Single Comicbook Story for ''Howard the Duck'' #3: "Four Feathers of Death", with ].<ref name="Eagle1977">{{cite web|url=http://www.eagleawards.co.uk/category/previous-winners/1977/ |title=Eagle Awards Previous Winners 1977 |year=2013 |publisher=] |archive-url=https://web.archive.org/web/20131023125822/http://www.eagleawards.co.uk/category/previous-winners/1977/ |archive-date=October 23, 2013 |url-status=dead|access-date=November 3, 2013}}</ref> | |||
| * 1978: ]<ref>{{cite web |url= http://www.hahnlibrary.net/comics/awards/inkpot.php|title= Inkpot Award Winners |publisher= Hahn Library Comic Book Awards Almanac|archive-url= https://web.archive.org/web/20120709055558/http://www.hahnlibrary.net/comics/awards/inkpot.php|archive-date= July 9, 2012|url-status= live}}</ref> | |||
| * 1997: "Author that We Loved" award at the Spanish ]s.<ref>{{cite web |url= http://www.hahnlibrary.net/comics/awards/haxtur97.php|title= 1997 Haxtur Awards|publisher= Hahn Library Comic Book Awards Almanac|archive-url= https://web.archive.org/web/20131229112042/http://www.hahnlibrary.net/comics/awards/haxtur97.php|archive-date= December 29, 2013|url-status= live}}</ref> | |||
| * 2002: Inducted into the ].<ref>{{cite web |url= http://www.comic-con.org/awards/hall-fame-awards|title= Will Eisner Hall of Fame|year= 2014|publisher= ]|archive-url= https://web.archive.org/web/20140221012330/http://www.comic-con.org/awards/hall-fame-awards|archive-date= February 21, 2014|url-status= live}}</ref> | |||
| * In 2002, Spain's Haxtur Awards inaugurated the ].<ref>{{cite web |url= http://www.hahnlibrary.net/comics/awards/haxtur02.php|title= 2002 Haxtur Awards|publisher= Hahn Library Comic Book Awards Almanac|archive-url= https://web.archive.org/web/20131229113859/http://www.hahnlibrary.net/comics/awards/haxtur02.php|archive-date= December 29, 2013|url-status= live}}</ref> | |||
| * 2024: Inducted in to the ] Hall of Fame<ref name=NYTimes10.11.24/> | |||
| ==Bibliography== | |||
| ===DC Comics=== | |||
| *'']'' (]) #7 (2000) | |||
| *'']'', one-shot, (2001) | |||
| *'']: Blood of My Ancestors'', one-shot, (with ]) (2003, posthumous) | |||
| == |
===Dell Comics=== | ||
| *'']'' #684: ] (1956), #762: ]; #775: ], #794: ], #910: ], #927: ]'s Top Gun (adapted from novel ''Test Pit'' by Luke Short), #944: ], #1006: ], #1077, 1130: ], #1139: ] (1956–1960) | |||
| ---- | |||
| Buscema carries his whirlwind momentum into the 80's. Despite the departure of key Buscema collaborators writer Roy Thomas and inker Tony Dezuniga, the Conan franchise continues to prosper. He does an excellent 6-plate Conan portfolio released by Sal Q. Productions in 1980 and the popular Thomas, Buscema, Chan trio launched a third Conan title, the double-sized bi-monthly King Conan in 1980) as Buscema abandons regular superhero work in order to spearhead art duties on all 3 Conan titles. Such is the popularity of the character, that a Conan movie is released in 1982; Buscema provides superb pencils and inks for a 48-page movie adaptation. | |||
| ===Marvel Comics=== | |||
| Buscema continues to tackle other high-profile projects such as the second Superman and Spiderman team-up (1981, Sinnott inks), a Silver Surfer story for the first issue of Epic magazine (1980, Nebres inks), a fine King Arthur story (Marvel Preview #22, 1980, Palmer inks), a movie adaptation of Raiders of the Lost Ark, 1981, Janson inks, and a sensitive rendition of the life of St. Francis of Assisi (Francis, Borther of the universe, Marie Severin inks, 1980). | |||
| {{div col|colwidth=30em}} | |||
| *''All-True Crime Cases'' #32 (1949) | |||
| *'']'' #1–2 (]) (1970) | |||
| *'']'' #72–73, 76–81 (layouts only); #84–85 (1969–1970) | |||
| *''Amazing Spider-Man 1999'' #1 (1999) | |||
| *'']'' #1 (with ]) (1994) | |||
| *'']'' #9, 12 (Ka-Zar) (1971–1972) | |||
| *'']'' #41–44, 46–47, 49–62, 74–77, 79–85, 94, 97, 105, 121, 124–125, 152–153, 255–279, 281–300, ''Annual'' #2 (backup story), 23 (1967–1989), #385 (with ]) (1995) | |||
| *''Bizarre Adventures'' #27, 29–30 (1981–1982) | |||
| *'']'' #115, 217 (1969–1978) | |||
| *'']'' #24–30 (Marvel UK) (1977) | |||
| *'']'' #18 (with Gil Kane) (1969) | |||
| *'']'' #1, 3 (1969–1970) | |||
| *'']'' #25–36, 38–39, 41–56, 58–63, 65–68, 70–78, 84–86, 88–91, 93–126, 136, 140–144, 146–153, 155–159, 161–163, 165–179, 181–185, 187–190; ''Annual'' #2, 4, 5, 7 (1973–1987) | |||
| *'']'' #1–2 (1982) | |||
| *'']'' #1–2 (1984) | |||
| *''Conan the Savage'' #10 (1996) | |||
| *''Conan: Death Covered in Gold'' #1–3 (1999) | |||
| *''Cosmic Powers Unlimited'' #2–3 (1995) | |||
| *''Cowboy Romances'' #1–3 (1949–1950) | |||
| *'']'' #2 (1974) | |||
| *''Crimefighters'' #4–5, 7–8, 10 (1948–1949) | |||
| *'']'' #136–137, 219 (1976–1985) | |||
| *''] Annual'' #1 (1974) | |||
| *'']'' vol. 3 #10 (2000) | |||
| *'']'', vol. 2, #1, 3 (1975–1976) | |||
| *'']'' #39–40 (1996) | |||
| *'']'' #3, 6 (1973–1974) | |||
| *'']'' #1 (]), #9, 11–13 (1980–1982) | |||
| *''Faithful'' #1–2 (1949–1950) | |||
| *'']'' #107–130, 132, 134–141, 160, 173–175, 202, 296–309, 416, ''Annual'' #11, ''Giant-Size'' #2, 4 (1971–1996) | |||
| *'']'' #2 (1996) | |||
| *'']'' #1 (1980) | |||
| *'']'' #7–10 (1973–1974) | |||
| *''] The Devourer'', miniseries, #2–6 (1999–2000) | |||
| *''Giant-Size ]'' #1 (1975) | |||
| *'']'' #1 (1949) | |||
| *'']'' #3 (1976) | |||
| *''Howard the Duck'' vol. 2 (1980) | |||
| *'']'' #23 (1980) | |||
| *''Justice'' #13 (1949) | |||
| *'']'' #6–10 (1974–1975) | |||
| *''King Conan'' #1–9, 17 (1980–1983) | |||
| *'']'', vol. 2, #1–3, 5–7, 9–10 (1982–1985) | |||
| *''Lawbreakers Always Lose'' #3, 5, 9 (1948–1949) | |||
| *''Lorna, the Jungle Queen'' #1 (1953) | |||
| *''Love Trails'' #1 (1949) | |||
| *'']'' #30 (1950) | |||
| *'']'' #1–2 (1983–1984) | |||
| *''Man Comics'' #3–4 (1950) | |||
| *'']'' #12–13, 16 ''Giant-Size'' #2, 5 (1973–1974) | |||
| *''] Annual'' #4 (1988) | |||
| *'']'' #1–10, 38–47 (]) (1988–1990) | |||
| *'']'' #1–2, 9, 11–13, 18, 21, 35, 40 (1977–1986) | |||
| *'']'' #51, 53 (1990) | |||
| *'']: Conan of the Isles'' SC (1989) | |||
| *''Marvel Graphic Novel: Conan the Rogue SC'' (1991) | |||
| *'']'' #22–23 (1980) | |||
| *'']'' #30 (1976) | |||
| *'']'' #23 (1979) | |||
| *'']'' #30 (1977) | |||
| *'']'' #39 (1972) | |||
| *'']'' #27 (1975) | |||
| *'']'' #1–4 (1987) | |||
| *'']'' #1–2, 4–5 (1973–1974) | |||
| *'']'' #1–3 (1977) | |||
| *''My Love'' #1–7, 10, 18 (1969–1972) | |||
| *'']'' #67 (1959) | |||
| *'']'' #1–2, 21 (1976–1978) | |||
| *''Our Love Story'' #1–3, 5–7, 9, 16 (1969–1972) | |||
| *''Punisher: A Man Named Frank'' #1 (1994) | |||
| *'']'' #23–30, ''Annual'' #1 (1993–1994) | |||
| *'']'' #1 (1977) | |||
| *''Rangeland Love'' #1 (1949) | |||
| *'']'' #12–13, 15 (1978–1979) | |||
| *''Romances of the West'' #1–2 (1949–1950) | |||
| *'']/Silver Surfer'' #1 (1995) | |||
| *'']'' #1 (1980) | |||
| *'']'' #1–5, 7, 10–13, 15–24, 26–28, 30–36, 38–43, 45, 47–58, 60–67, 70–74, 76–81, 87–88, 90–93, 95–96, 98–101, 190–200, 202–210, 222, 225, 234–235 (1974–1995) | |||
| *'']'' #1, 6–8 (Ka-Zar) (1971–1975) | |||
| *''Savage Tales'' vol. 2 #6 (1986) | |||
| *''Shadows & Light'' #3 (1998) | |||
| *'']'' #1–17 (1968–1970) | |||
| *''Silver Surfer'' vol. 3 #110 (1995) | |||
| *''Silver Surfer: Judgment Day'' graphic novel (1988) | |||
| *'']'' #121 (among other artists) (1986) | |||
| *'']'' #7 (1986) | |||
| *'']'' #68, 150, 174 (1959–1974) | |||
| *'']'' #1–8, 20, 24 (1968–1970) | |||
| *''Suspense'' #4 (1950) | |||
| *'']'' #1 (1959) | |||
| *'']'' #1 (1973) | |||
| *'']'' #2; #85–87 (Hulk) (1959–1967) | |||
| *'']'' #1–18, ''Annual'' #1 (1977–1978) | |||
| *''Tex Morgan'' #4–7 (1949) | |||
| *'']'' #178, 182–213, 215–226, 231–238, 241–253, 256–259, 272–278, 283–285, ''Annual'' #5, 8, 13 (1970–1985); #490 (1995) | |||
| *''Thor'' vol. 2 #9 (1999) | |||
| *'']'' vol. 2 #4–5 (1980) | |||
| *'']'' #1–2 (1969) | |||
| *''True Adventures'' #3 (1950) | |||
| *''True Life Tales'' #1 (1949) | |||
| *''True Secrets'' #3 (1950) | |||
| *''Two Gun Western'' #5 (1950) | |||
| *'''Western Outlaws and Sheriffs'' #60, 62 (1949–1950) | |||
| *''Western Winners'' #5 (1949) | |||
| *'']'' #13 (Conan); 15 (Nova) (1979) | |||
| *''Wild Western'' #7–8 (1949) | |||
| *'']'' #1–8, 10–16, 25, 27 (1988–1990) | |||
| *'']'' SC (1991) | |||
| *'']'' #4 (1973) | |||
| *'']'' #42–43, 45 (1968) (cover-art only) | |||
| *''Young Men'' #4–5 (1950) | |||
| {{div col end}} | |||
| ===Simon & Schuster=== | |||
| The Conan franchise eventually begins to struggle editorially, however, (no regular inker was found to fill DeZuniga's shoes, although Rudy Nebres provided excellent occasional jobs and even Nestor Redondo did an issue, SSOC #90) as Buscema becomes increasingly disenchanted with the writing on Conan and will gradually drop all Conan work altogether. He leaves King Conan in 1982 after 9 issues although he remains with the REH franchise with a revival of the Kull series for 10 issues. | |||
| *'']'', with ], teaching book, ], 1978, {{ISBN|978-0671530778}} | |||
| ==Notes== | |||
| His post-Thomas work on SSOC was done mainly with Ernie Chan as inker and is overall quite strong. He actually made a return to more frequent inking (eschewing a looser Foster/Frazetta rendering style) with a trio of superlative jobs (#'s 61, 70, 73) and a fondly remembered 5-part tale of a character of his own creation, Bront (#'s 65, 66, 79, 80, 81). He leaves the series in 1984 with #101 on a strong note with a series of stories that he plotted himself. | |||
| <references group="Note"/> | |||
| ==References== | |||
| After pencilling the Conan the Destroyer movie adaptation in 1984 and the Conan of the Isles graphic novel in 1987 (both which seemed somewhat rushed and had several inexperienced inkers although he inked the first | |||
| {{Reflist|2}} | |||
| half of Destroyer himself), he left the Conan the Barbarian title with #190 in 1987, ending a highly successful 14-year association with the character. The series had gone through a number of changes in writers and inkers (Bob | |||
| Camp being the most prolific inker before the return of mainstay inker Ernie Chan) to Buscema's dissatisfaction although he nonetheless contributed a series of several dozen fine pencilled and inked covers in closing out his work on the title. | |||
| ==Further reading== | |||
| It's unfortunate that Buscema himself didn't take up regular writing chores on the title (he had plotted five solid issues, #'s155-159) as he had strong plotting and storytelling skills as evidenced in his preference for the 'Marvel method' of storytelling (i.e. working from a brief plot rather than a full script). Stan Lee: 'As a writer I found him a delight to work with. I had only to give him the barest bones of a plot and he'd flesh it out magnificently. He didn't even want a written synopsis most of the time. We'd discuss the story over the phone for a few minutes and days later he'd deliver a terrific strip that looked as though we had spent weeks going over every last detail!' | |||
| * ''Comic Book Artist'' #21 (Aug. 2002): "Remembering John Buscema: A CBA Tribute", pp. 3B-39B | |||
| * ''Big John Buscema'', Palma de Mallorca: Ajuntament de Palma, 2009. {{ISBN|978-84-87159-38-1}} | |||
| ==External links== | |||
| After a nearly five-year absence from the superhero world (except for a two-issue stint on Magic (a 1983 X-Men mini-series), Buscema returns to familiar ground as the regular penciller on the Avengers in 1985 (with #255, Palmer inks) and will stay with the title up to the 300th issue. He is also the regular penciller on the Fantastic Four for their 300th issue during a 15-issue stint beginning in 1986 (#'s 296-309, Sal Buscema and Sinnott inks). Ever the workhouse, he still manages to fit in an adaptation of the movie, Labyrinth (1986) as well as a four-issue mini-series featuring Mephisto, a signature character (1987). | |||
| {{Portal|Biography}} | |||
| * {{cite journal |last=Shooter |first=Jim |author-link=Jim Shooter |title=Trimmings: John Buscema |journal=] |issue=226 |publisher=] |date=August 2000 |url=http://www.tcj.com/3_online/t_buscema.html |archive-url=https://web.archive.org/web/20001109220800/http://www.tcj.com/3_online/t_buscema.html |archive-date=9 November 2000 |url-status=dead |access-date=24 April 2017 }} | |||
| * {{webarchive |url=https://web.archive.org/web/20011205015527/http://www.samcci.comics.org/_artists/buscema_j.htm |date=December 5, 2001 |title="The Silver Age Marvel Comics Cover Index: John Buscema"}}, Samcci.comics.org: Silver Age Cover Gallery, Retrieved on 2008-11-26; original site unresponsive 2008-12-02; from the ] | |||
| * {{comicbookdb|type=creator|id=619|title=John Buscema}} | |||
| * {{IMDb name|id=1815387}} | |||
| * {{Webarchive|url=https://web.archive.org/web/20180821093909/http://www.mikesamazingworld.com/mikes/features/creator.php?creatorid=154 |date=2018-08-21 }} at Mike's Amazing World of Comics | |||
| * at the Unofficial Handbook of Marvel Comics Creators | |||
| ===Audio/video=== | |||
| With the sheer volume and variety of work Buscema produces and the unfinished nature of doing mainly layouts, much of his 80's work has been considered by some to be less inspired than previously. This is probably true to a certain extent, but Buscema's work continues to develop nonetheless. Perhaps to due in part to sheer number of layouts-only pages he produces, one can notice a further streamlining of his artwork to a greater degree of simplicity with a shift of focus to storytelling and cartooning (although he still has plenty of his trademark power, energy, and draftsmanship). Moreover, he continues his inking efforts, producing an outstanding Thor Annual (#15, 1985), a superb 10-page western in Savage Tales magazine (#10,1986), and a stunning plate for the | |||
| * . ]. December 9, 2007 | |||
| WFCBA Portfolio (Éditions Déesse, 1983), for example. | |||
| {{s-start}} | |||
| Buscema caps off the decade with a scintillating return to the Silver Surfer character with a special hardcover graphic novel, Judgment Day, inked by himself and done entirely with full-page panels (1988) and by tackling Wolverine, a new character for him, helping to launch his adventures in 1988 with two new titles, Marvel Comics Presents, an anthology title (#'s 1-10, Janson inks and #'s 38-47, with Buscema inking himself) as well as in his own title (#'s 1-16, 20, 25, Williamson, Sienkiwicz inks, with issues 7, 8, and 25 featuring superb Buscema inks). Wolverine marks a return for Buscema to doing finished pencils regularly as his work displays a renewed show of power and energy. | |||
| {{Succession box|title='']'' artist|before= ]|after= ]|years=1967–1969}} | |||
| {{Succession box|title='']'' artist| before= ]|after= ]|years=1970–1977}} | |||
| {{Succession box|title='']'' artist|before= ]|after= ]|years=1971–1973}} | |||
| {{Succession box|title='']'' artist|before=]| after= ]|years=1973–1987}} | |||
| {{Succession box|title='']'' artist|before= n/a| after= Gary Kwapisz|years=1974–1984}} | |||
| {{Succession box|title=''Thor'' artist|before= Walt Simonson|after= ]|years=1978–1979}} | |||
| {{Succession box|title=''Avengers'' artist|before= ]|after= Rich Buckler|years=1985–1989}} | |||
| {{Succession box|title=''Fantastic Four'' artist|before= ]|after= Keith Pollard|years=1986–1987}} | |||
| {{Succession box|title=''Savage Sword of Conan'' artist|before= Mike Docherty| after= ]|years=1991–1993}} | |||
| {{end}} | |||
| {{She-Hulk|state=collapsed}} | |||
| == The 90's and beyond == | |||
| {{Inkpot Award 1970s}} | |||
| ---- | |||
| {{Authority control}} | |||
| {{DEFAULTSORT:Buscema, John}} | |||
| Buscema begins his sixth decade in the field auspiciously by joining Roy Thomas for a return to the Savage Sword of Conan with #191 (1991, Dezuniga, Chan, E.R. Cruz inks) with a lively, entertaining 20-issue run. 1991 also sees the publication of Conan the Rogue, a graphic novel plotted, pencilled, inked, and coloured by Buscema, which stands as one his most personal works as he produced it over a period of several years in his spare time. He departs the Wolverine title, but not before delivering a superlative graphic novel, Bloody Choices (1991, which he inked himself). | |||
| ] | |||
| ] | |||
| Buscema continues to tackle new genres with a stint with the Punisher (Punisher War Zone #'s 23-30). Although the stint was brief, he nonetheless produced some fine artwork with that character; including issues 26-29 which he inked himself along with the first Punisher War Zone Annual. He also pencilled and inked a fine Punisher western tale, the 1994 graphic novel, A man named Frank and was the chosen Punisher penciller for the Punisher meets Archie (1994) team-up. At this late stage in his career, Buscema adopts a bolder, looser inking style, somewhat akin to Joe Kubert's. No longer attached to a regular series after his Punisher run, he pencils and inks a fine Avengers Annual (#23, 1994) and five more energetic B & W Conan adventures. Unfortunately, the Conan franchise reaches its twilight at Marvel and Buscema is the final artist on the last issue of SSOC with #235 and also the final artist on the short-lived spin-off, Conan the Savage (#10, 1996). | |||
| ] | |||
| ] | |||
| He provides a few fill-in pencil jobs (the Cosmic Powers Unlimited mini- series, Doom 2099, Fantastic Four 2099, Thor, and Fantastic Four, Silver Surfer, and a Silver Surfer/Rune special) and in 1996 after a long, productive, and fruitful career, formally takes his well- deserved retirement at the age of 68. 1997 was the first year in 30 years where new Buscema material did not appear on the stands - it would also be the last year in Buscema's lifetime, as Buscema, ever the workhouse, continued to receive assignment offers which he would take on, his retirement thus becoming a 'semi-retirement'. | |||
| ] | |||
| ] | |||
| Always evolving artistically, his 'post-retirement' work has an easygoing, fluid simplicity to it, which only a veteran of the craft can achieve. He did pencils & inks on a B&W Hulk short story for Shadows and Light (1998) and made a final return to Conan with the 'Death covered in Gold' 3-issue mini-series (1999). 1999 also saw the publication of a lively Spider-Man Annual with full Buscema art, five of the six-issue 'Galactus the Devourer' mini-series which he handsomely pencilled (Sienkiewicz inks), and a fill-in Thor issue (Ordway inks). | |||
| ] | |||
| ] | |||
| Buscema continued to do entertaining work into his seventh decade of professional comic book work, working with DC Comics for the first time, initially doing full art on a B & W Batman short story. (Batman – Gotham Knights #7, 2000). He later reunited with Stan Lee on the ‘Just imagine Stan Lee and John Buscema creating Superman’ (2001) project. He also kept active doing private commissions and cover re-creations as well as teaching art classes and helped produce the John Buscema Sketchbook (Vanguard 2001) for whose promotion he attended the 2001 San Diego Comic Art Convention where he was received with great appreciation by fans and colleagues. The book gives a good overview of Buscema's wide-ranging passion for art: ‘I love all the painters…Vermeer, Velasquez, Goya, Rubens, Rembrandt…I’ve got over a thousand art books!’ | |||
| ] | |||
| ] | |||
| He finished the pencils on a Superman project started by Gil Kane (who had since passed away), SUPERMAN: Blood of my Ancestors (Nowlan inks, 2003) and had just signed on for a 5-issue mini-series with Roy Thomas called JLA: Barbarians. Shortly after finishing the first issue, Buscema, diagnosed with stomach cancer a few months earlier, passed away on January 10th, 2002 at the age of 74. A superb pencil illustration of the Avengers (painted by Alex Ross) was his last professional work. A documentary on Frank Frazetta, Painting with Fire (2003), which Buscema appeared in, was posthumously dedicated to him. Comprehensive tributes to Buscema's considerable artistic talents and accomplishments were published in Alter Ego #15 and Comic Book Artist #21 in 2002 and much of his work remains in print in trade paperback reprints. | |||
| ] | |||
| ] | |||
| ==Awards== | |||
| ] | |||
| He received much recognition for his work in comics, including the Shazam Award for Best Penciller (Dramatic Division) in 1974. He was inducted into the Eisner Hall of Fame in 2002. | |||
| ] | |||
| {{start box}} | |||
| {{succession box | title=] artist| before=]| after=]| years=1971–1973}} | |||
| {{succession box | title=] artist| before=]| after=]| years=1986–1987}} | |||
| {{end box}} | |||
| ] | |||
| ] | |||
| ] | |||
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Latest revision as of 10:17, 27 November 2024
American comic book artist| John Buscema | |
|---|---|
 Buscema in a 1975 Marvel publicity photo | |
| Born | Giovanni Natale Buscema (1927-12-11)December 11, 1927 Brooklyn, New York, U.S. |
| Died | January 10, 2002(2002-01-10) (aged 74) Port Jefferson, New York, U.S. |
| Area(s) | Penciller, Inker |
| Notable works | The Avengers Conan the Barbarian Fantastic Four Silver Surfer Tarzan Thor |
| Awards | Alley Award, 1968, 1969 Shazam Award, 1974 Eagle Award, 1977 Inkpot Award, 1978 Eisner Award Hall of Fame, 2002 |
John Buscema (/bjuːˈsɛmə/ bew-SEM-ə; born Giovanni Natale Buscema, Italian: [dʒoˈvanni naˈtaːle buʃˈʃɛːma]; December 11, 1927 – January 10, 2002) was an American comic book artist and one of the mainstays of Marvel Comics during its 1960s and 1970s ascendancy into an industry leader and its subsequent expansion to a major pop-culture conglomerate. His younger brother Sal Buscema is also a comic book artist.
Buscema is best known for his run on the series The Avengers and The Silver Surfer, and for over 200 stories featuring the sword-and-sorcery hero Conan the Barbarian. In addition, he pencilled at least one issue of nearly every major Marvel title, including long runs on two of the company's top magazines, Fantastic Four and Thor.
He was inducted into the Will Eisner Comic Book Hall of Fame in 2002. In October 2024, Buscema was inducted into the Harvey Awards Hall of Fame.
Biography
Early life and career
Born in Brooklyn, New York City, from Sicilian parents who emigrated from Pozzallo, Ragusa, John Buscema showed an interest in drawing at an early age, copying comic strips such as Popeye. In his teens, he developed an interest in both superhero comic books and such adventure comic strips as Hal Foster's Tarzan and Prince Valiant, Burne Hogarth's Tarzan, Alex Raymond's Flash Gordon, and Milton Caniff's Terry and the Pirates. He showed an interest in commercial illustration of the period, by such artists as N. C. Wyeth, Norman Rockwell, Dean Cornwell, Coby Whitmore, Albert Dorne, and Robert Fawcett.
Buscema graduated from Manhattan's High School of Music and Art. He took night lessons at Pratt Institute as well as life drawing classes at the Brooklyn Museum. While training as a boxer, he began painting portraits of boxers and sold some cartoons to The Hobo News. Seeking work as a commercial illustrator while doing various odd jobs, Buscema found himself instead entering the comic book field in 1948, landing a staff job under editor-in-chief and art director Stan Lee at Timely Comics, the forerunner of Marvel Comics. The Timely "bullpen", as the staff was called, included such fellow staffers as established veterans Syd Shores, Carl Burgos, Mike Sekowsky, George Klein, and Marty Nodell. Fellow newcomer Gene Colan, hired roughly two months earlier, recalled that "... John never seemed very happy in comics ... there always seemed to be something else he really wanted to do."
His first recorded credit is penciling the four-page story "Till Crime Do You Part" in Timely's Lawbreakers Always Lose #3 (Aug. 1948). He contributed to the "real-life" dramatic series True Adventures and Man Comics (the premiere issue of which sported one of Buscema's earliest recorded comic book covers), as well as to Cowboy Romances, Two-Gun Western (for which he drew at least one story of the continuing character the Apache Kid), Lorna the Jungle Queen, and Strange Tales. Until the bullpen was dissolved a year-and-a-half later, as comic books in general and superhero comics in particular continued their post-war fade in popularity, Buscema penciled and inked in a variety of genres, including crime fiction and romance fiction.
1950s
Buscema married in 1953. He continued to freelance for Timely, by now known as Atlas Comics, as well as for the publishers Ace Comics, Hillman Periodicals, Our Publications/Orbit-Wanted, Quality Comics, St. John Publications, and Ziff-Davis.
Buscema's mid-1950s work includes Dell Comics' Roy Rogers Comics #74–91 (Feb. 1954 – July 1955) and subsequent Roy Rogers and Trigger #92–97 and #104–108 (Aug. 1955 – Jan. 1956 & Aug.–Dec. 1956); and the Charlton Comics series Ramar of the Jungle and Nature Boy — the latter, Buscema's first superhero work, with a character created by himself and Superman co-creator Jerry Siegel.
Buscema next produced a series of Western, war, and sword and sandal film adaptations for Dell's Four Color series. Buscema recalled, "I did a bunch of their movie books ... that was a lot of fun. I worked from stills on those, except for The Vikings. ... I think one of the best books I ever did was Sinbad the Sailor."
He drew at least one issue of the radio, film, and TV character the Cisco Kid for Dell in 1957, as well as one- to eight-page biographies of every U.S. president through Dwight Eisenhower for that company's one-shot Life Stories of American Presidents.
During a late 1950s downturn in the comics industry, Buscema drew occasional mystery, fantasy, and science-fiction stories for Atlas Comics' Tales to Astonish, Tales of Suspense, and Strange Worlds, and American Comics Group's Adventures into the Unknown, and Forbidden Worlds before leaving comics to do freelance commercial art. He began a freelance position for the New York City advertising firm the Chaite Agency, which employed such commercial artists as Bob Peak and Frank McCarthy.
1960s
Buscema spent approximately eight years in the commercial-art field, freelancing for the Chaite Agency and the studio Triad, doing a variety of assignments: layouts, storyboards, illustrations, paperback book covers, etc. in a variety of media. Buscema called this time "quite a learning period for me in my own development of techniques".
He returned to comic books in 1966 as a regular freelance penciller for Marvel Comics, debuting over Jack Kirby layouts on the "Nick Fury, Agent of S.H.I.E.L.D." story in Strange Tales #150 (Nov. 1966), followed by three "Hulk" stories in Tales to Astonish #85–87 (Nov. 1966 – Jan. 1967). He then settled in as regular penciller of The Avengers, which would become one of his signature series, with #41 (June 1967). Avengers #49–50, featuring Hercules and inked by Buscema, are two of his "best-looking of that period", said comics historian and one-time Marvel editor-in-chief Roy Thomas, who wrote those issues. Thomas and Buscema introduced new versions of the Black Knight and the Vision during their collaboration on The Avengers.
In order to adapt to the Marvel Comics style of superhero adventure, Buscema "synthesized the essence of Kirby's supercharged action figures, harrowing perspectives, monolithic structures, mega-force explosions, and mythological planetscapes into a formula that he instantly integrated into his own superbly crafted vision," wrote comics artist and historian Jim Steranko. "The process brought Buscema's art to life in a way that it had never been before. Anatomically balanced figures of Herculean proportions stalked, stormed, sprawled, and savaged their way across Marvel's universe like none had previously".
Buscema would pencil an average of two comics a month in collaboration with such inkers as George Klein, Frank Giacoia, Dan Adkins, Joe Sinnott, his younger brother Sal Buscema, Tom Palmer, and, occasionally, Marvel production manager and sometime inker-cartoonist John Verpoorten. John Buscema named Frank Giacoia, Sal Buscema, and Tom Palmer as his favorite inkers.
Among Buscema's works during this period fans and historians call the Silver Age of comic books are The Avengers #41–62 (June 1967 – March 1969) and The Avengers Annual #2 (Sept. 1968); the first eight issues of The Sub-Mariner (May–Dec. 1968); The Amazing Spider-Man #72–73, 76–81, 84–85 (ranging from June 1969 – June 1970 providing layouts finished by either John Romita Sr. or Jim Mooney), and two issues he himself finished over Romita layouts. Buscema drew the first appearance of the Prowler in The Amazing Spider-Man #78 (Nov. 1969).
In August 1968, Buscema and Stan Lee launched a new title, The Silver Surfer. That series about a philosophical alien roaming the world trying to understand both the divinity and the savagery of humanity was a personal favorite of Marvel editor-in-chief Stan Lee, who scripted. Buscema penciled 17 of its 18 issues — the first seven as a 25¢ "giant-size" title at a time when comics typically cost 12¢. "Beautifully drawn by John Buscema, this comic book represented an attempt to upgrade the medium with a serious character of whom Lee had grown very fond," assessed comics historian Les Daniels. Roy Thomas said Buscema considered Silver Surfer #4 (Feb. 1969), featuring a battle between the Silver Surfer and Thor, "as the highpoint of his Marvel work". Characters Buscema co-created in The Silver Surfer include the long-running arch-demon Mephisto in issue #3 (Dec. 1968).
Toward the end of the decade, Buscema drew some fill-in issues of superhero series and returned to familiar 1950s genres with a spate of supernatural mystery stories in Chamber of Darkness and Tower of Shadows, and romance tales in My Love and Our Love. He then returned to his signature series The Avengers for 11 issues inked by Tom Palmer.
1970s
The creative team of Roy Thomas and John Buscema introduced new characters such as Arkon in The Avengers #75 (April 1970), Red Wolf in #80 (Sept. 1970), and the Squadron Supreme in #85 (Feb. 1971). With Jack Kirby's departure from Marvel in 1970, Buscema succeeded him on both of Kirby's titles: Fantastic Four (penciling issues #107–141, following John Romita Sr.) and Thor (#182–259). He additionally launched the feature "Black Widow" in Amazing Adventures vol. 2, #1 (Aug. 1970).
Marvel editor-in-chief Stan Lee, who collaborated with Buscema on many stories up to this time, wrote,
One thing I loved about Big John is the fact that I didn't have to spend time writing synopses for him. ... He'd always growl over the phone, 'Don't bother sending me any outlines, Stan. I hate to waste time reading them. Just tell what you've got in mind over the phone. I'll remember it.' So I'd tell him the story I wanted, and I have a hunch he didn't even write any notes while I spoke — because I spoke too fast — but it didn't matter. He remembered every last detail and the stories always came out perfect — at least as far as I was concerned.
Buscema began penciling Conan the Barbarian with #25 (April 1973) following Barry Smith's celebrated run, and debuted as the Conan artist of the black-and-white comics-magazine omnibus Savage Sword of Conan with issue #1 (Aug. 1974). He would eventually contribute to more than 100 issues of each title, giving him one of the most prolific runs for an artist on a single character. He additionally drew the Conan Sunday and daily syndicated newspaper comic strip upon its premiere in 1978, and even contributed some storyboard illustrations for the 1982 Conan movie, as well as painting four covers for the Conan magazines. In 2010, Comics Bulletin ranked Buscema's work on Conan the Barbarian seventh on its list of the "Top 10 1970s Marvels".
For about ten years, he would produce an average three to four books' worth of pencils a month, such as Nova (1976) and Ms. Marvel (1977). In addition to his regular assignments he would pencil covers and fill-in issues of titles including Captain America, Captain Britain (Marvel UK), Daredevil, The Frankenstein Monster, Howard the Duck, Master of Kung Fu, Red Sonja and Warlock. He also drew a story for the science-fiction anthology Worlds Unknown.
Buscema contributed as well to Marvel's black-and-white comics magazines, including the features "Ka-Zar" in Savage Tales #1 (May 1971) and "Bloodstone" in Rampaging Hulk #1 (Jan. 1977), and Doc Savage #1 and 3 (Aug. 1975, Jan. 1976). Other magazine work ran the gamut from horror (Dracula Lives!, Monsters Unleashed, Tales of the Zombie) to humor (Crazy, Pizzaz).
Buscema left the Thor title for a time to launch the Marvel version of the Edgar Rice Burroughs character Tarzan in 1977. Other licensed projects include a 72-page The Wizard of Oz movie adaptation in an oversized "Treasury Edition" format with DeZuniga inking. For Power Records, which produced children's book-and-record sets, Buscema drew Star Trek and Conan the Barbarian comics. He contributed some superhero drawings for Pro, the NFL official magazine (1970), and penciled some chapters of the first issue of Marvel Comics Super Special featuring the rock group Kiss (1977).
In 1978, small-press publisher Sal Quartuccio released The Art of John Buscema, a retrospective that included an interview, previously unpublished sketches and drawings, and a cover that was also sold as a poster.
Buscema capped off the decade penciling writer Doug Moench's three-issue Weirdworld epic-fantasy tale "Warriors of the Shadow Realm" in Marvel Super Special #11–13 (June–Oct. 1979). Pacific Comics released an accompanying portfolio of six signed, colored plates from the story.
Teaching
In the mid-1970s, Buscema ran the John Buscema Art School, which advertised for students in the pages of many Marvel titles. Stan Lee made appearances as a guest lecturer at Buscema's school, and some of the school's graduates (including Bob Hall and Bruce Patterson) went on to become professional cartoonists. Buscema later said that teaching the class was "very gratifying" but that having to make the 60-mile drive after a day's work was too exhausting, and ultimately forced him to give it up. Buscema then collaborated with Lee on the book How to Draw Comics the Marvel Way (Marvel Fireside Books, 1978), a primer on comic book art and storytelling based on the comic art classes Buscema had given a few years prior, and has remained in print for over 25 years, in its 33rd printing as of 2007.
1980s
After drawing the first issue of The Savage She-Hulk (Feb. 1980), Buscema abandoned regular superhero work in order to spearhead art duties on all three Conan titles. The popularity of the character spurred the release of a Conan movie in 1982; Buscema provided pencils and inks for a 48-page movie adaptation.
He continued to tackle other high-profile projects such as a Silver Surfer story for Epic Illustrated #1 (Spring 1980), a King Arthur story in Marvel Preview #22 (Summer 1980), the St. Francis of Assisi biography Francis, Brother of the Universe (1980), the second Superman and Spider-Man team-up (1981), and an adaptation of the 1981 movie Raiders of the Lost Ark.
He left King Conan in 1982 after nine issues, although he remained with Marvel's Robert E. Howard franchise with a revival of the Kull series for 10 issues, and left The Savage Sword of Conan in 1984 with #101 with a series of stories that he plotted himself. After pencilling the Conan the Destroyer movie adaptation in 1984 and the Conan of the Isles graphic novel in 1987, he left Conan the Barbarian with #190 in 1987, ending a 14-year association with the character.
After nearly five years away from superheroes, except for the first two issues of the X-Men-related, four-issue miniseries Magik (Dec. 1983 – March 1984), Buscema returned to familiar ground as regular penciller on The Avengers from #255–300 (May 1985 – Feb. 1989). He was regular penciller on Fantastic Four for its 300th issue, during a 15-issue stint from #296–309 (Nov. 1986 – Dec. 1987). Additionally, he fit in the three-issue film adaptation Labyrinth (Nov. 1986 – Jan. 1987) and the four-issue miniseries Mephisto (April–July 1987), starring a character he created with Stan Lee in The Silver Surfer.
Buscema reteamed with Lee on the Silver Surfer himself with the 1988 graphic novel Silver Surfer: Judgment Day, self-inked and done entirely as full-page panels. That year he and inker Klaus Janson drew a Wolverine solo feature in the biweekly anthology Marvel Comics Presents, followed by self-inked Wolverine series in that title. He pencilled the first 14 issues (Nov. 1988 – mid-Nov. 1989) of the first Wolverine ongoing series, self-inked on #7–8. Bill Sienkiewicz, who inked the last five issues of that run, recalled Buscema's pencil work as "the sturdiest foundation an inker or an embellisher could possibly hope to build on, and their beauty was not in their attention to fastidiously rendered minutiae, but instead were marvels of deceptive simplicity. Each page an example of grace, elegance and power."
Later career
Buscema began his sixth decade in the field by joining Roy Thomas for a return to The Savage Sword of Conan with #191 (Nov. 1991) for a 20-issue run. Conan the Rogue, a graphic novel Buscema plotted, pencilled, inked, and colored over a period of five years in his spare time appeared that same year. He both penciled and inked the graphic novel Wolverine: Bloody Choices (Nov. 1993).
Buscema returned to crime fiction with The Punisher War Zone #23–30 (Jan.–Aug. 1994, self-inking #26–29), that title's 1993 summer annual, and the 1994 graphic novel A Man Named Frank, a parallel-universe Punisher Western tale. He pencilled the Punisher portions of 1994's Archie Meets the Punisher team-up. No longer attached to a regular series after his Punisher run, he penciled and inked The Avengers Annual #23 (1994) and five more black-and-white Conan adventures, serving as that Marvel franchise's final artist on The Savage Sword of Conan with #235 (July 1995) and on the short-lived spin-off Conan the Savage with #10 (May 1996). Through 1999, he penciled a variety of superhero comics; both penciled and inked a black-and-white short story for Shadows and Light (1998); and made a final return to Conan with the Death Covered in Gold three-issue miniseries (1999).
Buscema worked with DC Comics for the first time in 2000, initially doing both pencils and inks on a "Batman Black and White" short story in Batman: Gotham Knights #7 (Sept. 2000). He reunited with Stan Lee on the 2001 one-shot Just Imagine Stan Lee and John Buscema Creating Superman.
He finished the pencils on 2003's Superman: Blood of my Ancestors, begun by Gil Kane, who had since died, and had just signed on for a five-issue miniseries with Roy Thomas, JLA: Barbarians, though he died after finishing the first issue.
An 11 x 17-inch lithograph print of the late 1960s/early 1970s Avengers, penciled by Buscema and painted in watercolor by Alex Ross for the publisher Dynamic Forces, was Buscema's last professional work.
Buscema's passion for drawing was such that he continued to draw and sketch in his spare time, often on the back of comic book art pages, and these images form a considerable body of work in their own right. His brother Sal Buscema recalled,
This guy used to eat, sleep and breathe drawing. It didn't matter what was going on around him. He would get bored with it and start sketching. ... He just couldn't stop drawing. better than some of the stuff that he did on the front. ... He'd get a spark of inspiration and turn the page over and draw whatever was in his skull.
Personal life
Buscema, who lived in Port Jefferson, New York, on Long Island, at the time of his death, was married to Dolores Buscema, with whom he had a son, John Jr., and a daughter, Dianne. His granddaughter Stephanie Buscema is a freelance illustrator and cartoonist, who started out as an inker for her grandfather.
Death and legacy
Buscema was diagnosed with stomach cancer, and died on January 10, 2002, at the age of 74. He was buried with an artist's pen in his hand.
On October 11, 2024, the Harvey Awards announced that Buscema was one of five comics creators to be inducted into the Harvey Awards Hall of Fame at the 36th annual Harvey Awards ceremony on October 18 at the New York Comic Con. The other four inductees were Akira Toriyama, Larry Hama, Sergio Aragonés, and Arthur Adams. Upon learning of the accolade, Buscema’s daughter, Dianne Buscema Gerogianis, stated, "We are honored on behalf of my father and wish to thank all who have selected him for the Harvey Awards Hall of Fame. Thank you for keeping his legacy alive."
Awards and accolades
- 1968: Alley Award for Best Full-Length Story, for Marvel Comics' The Silver Surfer #1: "Origin of the Silver Surfer", by Stan Lee and John Buscema (tied with DC Comics' The Brave and the Bold #79: "Track of the Hook", by Bob Haney and Neal Adams): also Best New Strip for The Silver Surfer.
- 1969: Alley Award for Best Full-Length Story for The Silver Surfer #5: "... And Who Shall Mourn for Him?", by Stan Lee, John Buscema, and Sal Buscema.
- 1974: Shazam Award for Best Penciller (Dramatic Division).
- 1977: Eagle Award for Favourite Single Comicbook Story for Howard the Duck #3: "Four Feathers of Death", with Steve Gerber.
- 1978: Inkpot Award
- 1997: "Author that We Loved" award at the Spanish Haxtur Awards.
- 2002: Inducted into the Eisner Award Hall of Fame.
- In 2002, Spain's Haxtur Awards inaugurated the Special John Buscema Award.
- 2024: Inducted in to the Harvey Awards Hall of Fame
Bibliography
DC Comics
- Batman Gotham Knights (Batman Black and White) #7 (2000)
- Just Imagine Stan Lee with John Buscema Creating Superman, one-shot, (2001)
- Superman: Blood of My Ancestors, one-shot, (with Gil Kane) (2003, posthumous)
Dell Comics
- Four Color #684: Helen of Troy (1956), #762: The Sharkfighters; #775: Sir Lancelot and Brian, #794: The Count of Monte Cristo, #910: The Vikings, #927: Luke Short's Top Gun (adapted from novel Test Pit by Luke Short), #944: The 7th Voyage of Sinbad, #1006: Hercules, #1077, 1130: The Deputy, #1139: Spartacus (1956–1960)
Marvel Comics
- All-True Crime Cases #32 (1949)
- Amazing Adventures #1–2 (Black Widow) (1970)
- The Amazing Spider-Man #72–73, 76–81 (layouts only); #84–85 (1969–1970)
- Amazing Spider-Man 1999 #1 (1999)
- The Punisher Meets Archie #1 (with Stan Goldberg) (1994)
- Astonishing Tales #9, 12 (Ka-Zar) (1971–1972)
- The Avengers #41–44, 46–47, 49–62, 74–77, 79–85, 94, 97, 105, 121, 124–125, 152–153, 255–279, 281–300, Annual #2 (backup story), 23 (1967–1989), #385 (with Mike Deodato) (1995)
- Bizarre Adventures #27, 29–30 (1981–1982)
- Captain America #115, 217 (1969–1978)
- Captain Britain #24–30 (Marvel UK) (1977)
- Captain Marvel #18 (with Gil Kane) (1969)
- Chamber of Darkness #1, 3 (1969–1970)
- Conan the Barbarian #25–36, 38–39, 41–56, 58–63, 65–68, 70–78, 84–86, 88–91, 93–126, 136, 140–144, 146–153, 155–159, 161–163, 165–179, 181–185, 187–190; Annual #2, 4, 5, 7 (1973–1987)
- Conan the Barbarian Movie Special #1–2 (1982)
- Conan the Destroyer #1–2 (1984)
- Conan the Savage #10 (1996)
- Conan: Death Covered in Gold #1–3 (1999)
- Cosmic Powers Unlimited #2–3 (1995)
- Cowboy Romances #1–3 (1949–1950)
- Crazy Magazine #2 (1974)
- Crimefighters #4–5, 7–8, 10 (1948–1949)
- Daredevil #136–137, 219 (1976–1985)
- Deadly Hands of Kung Fu Annual #1 (1974)
- Deathlok vol. 3 #10 (2000)
- Doc Savage, vol. 2, #1, 3 (1975–1976)
- Doom 2099 #39–40 (1996)
- Dracula Lives #3, 6 (1973–1974)
- Epic Illustrated #1 (Silver Surfer), #9, 11–13 (1980–1982)
- Faithful #1–2 (1949–1950)
- Fantastic Four #107–130, 132, 134–141, 160, 173–175, 202, 296–309, 416, Annual #11, Giant-Size #2, 4 (1971–1996)
- Fantastic Four 2099 #2 (1996)
- Francis, Brother of the Universe #1 (1980)
- Frankenstein #7–10 (1973–1974)
- Galactus The Devourer, miniseries, #2–6 (1999–2000)
- Giant-Size Super-Villain Team-Up #1 (1975)
- Girl Comics #1 (1949)
- Howard the Duck #3 (1976)
- Howard the Duck vol. 2 (1980)
- Hulk! #23 (1980)
- Justice #13 (1949)
- Ka-Zar #6–10 (1974–1975)
- King Conan #1–9, 17 (1980–1983)
- Kull the Conqueror, vol. 2, #1–3, 5–7, 9–10 (1982–1985)
- Lawbreakers Always Lose #3, 5, 9 (1948–1949)
- Lorna, the Jungle Queen #1 (1953)
- Love Trails #1 (1949)
- Lovers #30 (1950)
- Magik #1–2 (1983–1984)
- Man Comics #3–4 (1950)
- Man-Thing #12–13, 16 Giant-Size #2, 5 (1973–1974)
- Marvel Age Annual #4 (1988)
- Marvel Comics Presents #1–10, 38–47 (Wolverine) (1988–1990)
- Marvel Comics Super Special #1–2, 9, 11–13, 18, 21, 35, 40 (1977–1986)
- Marvel Fanfare #51, 53 (1990)
- Marvel Graphic Novel: Conan of the Isles SC (1989)
- Marvel Graphic Novel: Conan the Rogue SC (1991)
- Marvel Preview #22–23 (1980)
- Marvel Spotlight #30 (1976)
- Marvel Treasury Edition #23 (1979)
- Marvel Two-in-One #30 (1977)
- Marvel Tales #39 (1972)
- Master of Kung Fu #27 (1975)
- Mephisto #1–4 (1987)
- Monsters Unleashed #1–2, 4–5 (1973–1974)
- Ms. Marvel #1–3 (1977)
- My Love #1–7, 10, 18 (1969–1972)
- My Own Romance #67 (1959)
- Nova #1–2, 21 (1976–1978)
- Our Love Story #1–3, 5–7, 9, 16 (1969–1972)
- Punisher: A Man Named Frank #1 (1994)
- The Punisher War Zone #23–30, Annual #1 (1993–1994)
- The Rampaging Hulk #1 (1977)
- Rangeland Love #1 (1949)
- Red Sonja #12–13, 15 (1978–1979)
- Romances of the West #1–2 (1949–1950)
- Rune/Silver Surfer #1 (1995)
- Savage She-Hulk #1 (1980)
- Savage Sword of Conan #1–5, 7, 10–13, 15–24, 26–28, 30–36, 38–43, 45, 47–58, 60–67, 70–74, 76–81, 87–88, 90–93, 95–96, 98–101, 190–200, 202–210, 222, 225, 234–235 (1974–1995)
- Savage Tales #1, 6–8 (Ka-Zar) (1971–1975)
- Savage Tales vol. 2 #6 (1986)
- Shadows & Light #3 (1998)
- Silver Surfer #1–17 (1968–1970)
- Silver Surfer vol. 3 #110 (1995)
- Silver Surfer: Judgment Day graphic novel (1988)
- The Spectacular Spider-Man #121 (among other artists) (1986)
- Squadron Supreme #7 (1986)
- Strange Tales #68, 150, 174 (1959–1974)
- Sub-Mariner #1–8, 20, 24 (1968–1970)
- Suspense #4 (1950)
- Tales of Suspense #1 (1959)
- Tales of the Zombie #1 (1973)
- Tales to Astonish #2; #85–87 (Hulk) (1959–1967)
- Tarzan #1–18, Annual #1 (1977–1978)
- Tex Morgan #4–7 (1949)
- Thor #178, 182–213, 215–226, 231–238, 241–253, 256–259, 272–278, 283–285, Annual #5, 8, 13 (1970–1985); #490 (1995)
- Thor vol. 2 #9 (1999)
- The Tomb of Dracula vol. 2 #4–5 (1980)
- Tower of Shadows #1–2 (1969)
- True Adventures #3 (1950)
- True Life Tales #1 (1949)
- True Secrets #3 (1950)
- Two Gun Western #5 (1950)
- 'Western Outlaws and Sheriffs #60, 62 (1949–1950)
- Western Winners #5 (1949)
- What If #13 (Conan); 15 (Nova) (1979)
- Wild Western #7–8 (1949)
- Wolverine #1–8, 10–16, 25, 27 (1988–1990)
- Wolverine: Bloody Choices SC (1991)
- Worlds Unknown #4 (1973)
- X-Men #42–43, 45 (1968) (cover-art only)
- Young Men #4–5 (1950)
Simon & Schuster
- How to Draw Comics the Marvel Way, with Stan Lee, teaching book, Marvel Fireside Books, 1978, ISBN 978-0671530778
Notes
- This advertising agency, not to be confused with New York City's similarly named Lawrence G. Chait Agency or Chiat \ Day, was responsible for, among other things, the one-sheet for the James Bond movie Thunderball, per "Exhibitions & Events: 'Poster Galore'". British Film Institute. Archived from the original on February 4, 2010.
- Also called The Mighty Thor per "Thor (I) • The Mighty Thor (I) (1966–1996)". Unofficial Handbook of Marvel Comics Creators.
Series is named Thor in the indicia information, but most covers have the title The Mighty Thor.
References
- How To Draw Comics The Marvel Way part=1. Event occurs at 1:34 – via YouTube.
- ^ Social Security Death Index for Buscema, John N., Social Security Number 108-20-9641.
- "2002 Will Eisner Comic Industry Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on April 20, 2010.
- ^ Gustines, George Gene (October 11, 2024). "Harvey Awards Inducts 5 Comic Creators to Hall of Fame". The New York Times. Archived from the original on October 12, 2024. Retrieved October 12, 2024.
- Crepaldi, Silvia (March 2017). "Tina Colombo racconta suo zio John Buscema, disegnatore per la Marvel / Tina Colombo talks about her uncle, Marvel illustrator John Buscema". Freetime (in Italian). p. 97. Archived from the original on April 7, 2017. Retrieved 2017-04-07.
Mio nonno Giovanni ... sposò mia nonna Concetta, pozzallese e si trasferì a Pozzallo dove faceva il barbiere. Emigrò in America come tanti, ma partì solo ... / My grandfather Giovanni ... married my grandmother Concetta and moved to Pozzallo where he was a barber. He emigrated to America like so many others ...
- ^ Quartuccio, Sal; Keenan, Bob (1978). The Art of John Buscema. New York, New York: Sal Q Productions. p. Preface.
- Spurlock, David J.; Buscema, John (2001). John Buscema Sketchbook. Lebanon, New Jersey: Vanguard Productions. pp. 60–61. ISBN 1-887591-18-4.
- Spurlock, p. 27
- Irving, Christoper (August 2002). "The Life of Legendary 'Big' John Buscema". Comic Book Artist (21). Raleigh, North Carolina: TwoMorrows Publishing: 5–B.
- "John Buscema". Lambiek Comiclopedia. December 28, 2007. Archived from the original on February 19, 2014.
- Sanderson, Peter (2008). "1940s". In Gilbert, Laura (ed.). Marvel Chronicle A Year by Year History. London, UK: Dorling Kindersley. p. 39. ISBN 978-0756641238.
After answering a newspaper ad, John Buscema was hired by editor Stan Lee to be a staff artist.
- ^ Steranko, Jim, in Spurlock, p. 5
- Field, Tom (2005). Secrets in the Shadows: The Art & Life of Gene Colan. Raleigh, North Carolina: TwoMorrows Publishing. p. 92. ISBN 978-1893905450.
- ^ John Buscema at the Grand Comics Database Buscema/sort/chrono/ Archived from the original December 5, 2011.
- Quartuccio, Preface
- Peel, John (September–October 1984). "John Buscema". Comics Feature (31).
- Life Stories of American Presidents #1 (Nov. 1957) at the Grand Comics Database
- ^ Steranko, p. 6
- Spurlock, p. 35
- Thomas, Roy (June 2002). "'Big John' & 'Roy the Boy'". Alter Ego. 3 (15). Raleigh, North Carolina: TwoMorrows Publishing: 5 (Conan cover side of flip-book magazine).
- DeFalco, Tom "1960s" in Gilbert (2008), p. 128
- DeFalco "1960s" in Gilbert (2008), p. 132: "The new Vision, drawn by John Buscema, was a synthezoid – an android with synthetic human organs – who could control his density and discharge blasts of solar energy."
- Steranko, in Spurlock, pp. 6–7
- Cooke, Jon B. (January 1998). "John Buscema Interview". The Jack Kirby Collector (18). Raleigh, North Carolina: TwoMorrows Publishing. Archived from the original on December 4, 2010. Retrieved November 25, 2008.
- Thomas, Roy (June 2002). "Drawing Was His Life!". Alter Ego. 3 (15): 31 (Buscema self-portrait cover side of flip-book magazine).
- Manning, Matthew K. (2012). "1960s". In Gilbert, Laura (ed.). Spider-Man Chronicle Celebrating 50 Years of Web-Slinging. London, UK: Dorling Kindersley. p. 49. ISBN 978-0756692360.
In this tale written by Lee and drawn by the team of John Buscema and Jim Mooney, window washer Hobie Brown became fed up with his dead-end job and used his inventive mind to craft the identity and weapons of the Prowler.
- DeFalco "1960s" in Gilbert (2008), p. 131: "When Stan Lee was told to expand the Marvel line, he immediately gave the Surfer his own title ... Since Jack Kirby had more than enough assignments, Lee assigned John Buscema the task of illustrating the new book."
- Lee, Stan (1975). Son of Origins of Marvel Comics. New York, New York: Simon & Schuster/Fireside Books. p. #?. ISBN 978-0671221669.
- Daniels, Les (1991). Marvel: Five Fabulous Decades of the World's Greatest Comics. New York, New York: Harry N. Abrams. p. 139. ISBN 9780810938212.
- DeFalco, Tom (August 2002). "Memories of Brother John". Comic Book Artist (21). Raleigh, North Carolina: TwoMorrows Publishing: 34-B (caption).
- DeFalco "1960s" in Gilbert (2008), p. 133: "Created by editor Stan Lee and artist John Buscema, Mephisto hated the Surfer the moment he became aware of him."
- Sanderson, Peter "1970s" in Gilbert (2008), p. 145
- Sanderson "1970s" in Gilbert (2008), p. 146: "Red Wolf was Marvel's first Native American super hero."
- Sanderson "1970s" in Gilbert (2008), p. 148
- Sanderson "1970s" in Gilbert (2008), p. 146: Amazing Adventures contained a series about the genetically enhanced Inhumans and a series about intelligence agent the Black Widow ... writer Gary Friedrich and artist John Buscema teamed up for the adventures of the Black Widow, the former Russian spy turned American superhero."
- Irving, p. 6B
- Thomas, "'Big John'", p. 14
- Thomas, "'Big John'", p. 15
- Sacks, Jason (September 6, 2010). "Top 10 1970s Marvels". Comics Bulletin. Archived from the original on August 1, 2013. Retrieved August 3, 2013.
- Sanderson "1970s" in Gilbert (2008), p. 176: "Seeking to create a new teenage Marvel super hero in the tradition of Spider-Man, writer Marv Wolfman and artist John Buscema presented Richard Rider, alias Nova."
- Sanderson "1970s" in Gilbert (2008), p. 179: "Writer Roy Thomas and artist John Buscema created Marvel's new Tarzan series, based on author Edgar Rice Burroughs' character."
- Abramowitz, Jack (December 2012). "The Secrets of Oz Revealed". Back Issue! (61). Raleigh, North Carolina: TwoMorrows Publishing: 29–32.
- McAvennie, Michael (2010). "1970s". In Dolan, Hannah (ed.). DC Comics Year By Year A Visual Chronicle. London, UK: Dorling Kindersley. p. 165. ISBN 978-0-7566-6742-9.
The Yellow Brick Road from Munchkin Land to the Emerald City was also wide enough to accommodate DC and Marvel as they produced their first-ever joint publication ... Roy Thomas scripted a faithful, seventy-two page adaptation of Dorothy Gale's adventure, while John Buscema's artwork depicted the landscape of Oz in lavish detail.
- Bails, Jerry; Ware, Hames. "Buscema, John". Who's Who in American Comic Books 1929–1999. BailsProjects.com. Archived from the original on July 27, 2011.
- "Quartuccio, Sal". East Lansing, Michigan: Michigan State University Libraries, Special Collections Division, Reading Room Index to the Comic Art Collection: "Qualities" to "Quartz". Archived from the original on August 13, 2011. Retrieved August 23, 2011.
- Maillot, Michael. "The John Buscema Checklist". Mike.Jersey.free.fr (fan site). Archived from the original on July 20, 2011.
- "Cables of Champions", Champions #10 (Marvel Comics, Jan. 1977).
- ^ Boatz, Darrel L. (November 1988). "John Buscema". Comics Interview. No. 62. Fictioneer Books. p. 25.
- Spurlock, pp. 19–20
- DeFalco "1980s" in Gilbert (2008), p. 197: "With the help of artist John Buscema, Lee created Jennifer Walters, the cousin of Bruce Banner."
- Manning, Matthew K. "1980s" in Dolan, p. 194: "In an oversized treasury edition carrying a hefty $2.50 price tag, the Man of Steel paired for the second time with Marvel's iconic web-slinger ... The issue came together thanks to the script of writer Jim Shooter, a bit of plotting assistance by Marv Wolfman, the pencils of longtime Marvel luminary John Buscema, and a veritable fleet of inkers."
- Greenberg, Glenn (December 2012). "Tabloid Team-Ups The Giant-Size DC-Marvel Crossovers". Back Issue! (61). Raleigh, North Carolina: TwoMorrows Publishing: 33–40.
- Lee, Stan; Buscema, John (1988). Silver Surfer: Judgement Day. Marvel Comics. p. 64. ISBN 978-0871354273.
- Sienkiewicz, Bill; et al. (August 2002). "Remembering Buscema: Over 25 of the Master's Peers Reminisce about John and his Art". Comic Book Artist (21). Raleigh, North Carolina: TwoMorrows Publishing: 22B.
- Thomas, "'Big John'", pp. 16–17
- Conan the Rogue at the Grand Comics Database
- ^ Nash, Eric (January 28, 2002). "John Buscema, 74, Who Drew Classic Comic Book Characters". The New York Times. Archived from the original on November 11, 2012.
- ^ Gravett, Paul (April 16, 2002). "John Buscema Illustrator whose pen made superheroes masters of the universe". The Guardian. London, UK. Archived from the original on February 5, 2010.
- ^ David, Peter (2002). "Big Bad John". Comics Buyer's Guide. Reprinted in David, Peter (2009). More Digressions: A New Collection of "But I Digress" Columns. Des Moines, Iowa: Mad Norwegian Press.
- Sal Buscema quoted in DeFalco, "Memories", p. 35-B
- The Art of Stephanie Buscema (official site). WebCite archive.
- "THE HARVEY AWARDS HALL OF FAME ANNOUNCES INDUCTEES FOR 2024". First Comics News. October 11, 2024. Archived from the original on October 12, 2024. Retrieved October 12, 2024.
- Zalben, Alex (October 12, 2024). "Harvey Awards Announce Hall Of Fame Inductees: Larry Hama, John Buscema, More". Comic Book Club. Archived from the original on October 12, 2024. Retrieved October 12, 2024.
- MacDonald, Heidi (October 11, 2024). "NYCC '24: Five inducted into the 2024 Harvey Award Hall of Fame". Comics Beat. Archived from the original on October 12, 2024. Retrieved October 12, 2024.
- "1968 Alley Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on October 24, 2013.
- "1969 Alley Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on October 24, 2013.
- "1974 Academy of Comic Book Arts Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on December 12, 2013.
- "Eagle Awards Previous Winners 1977". Eagle Awards. 2013. Archived from the original on October 23, 2013. Retrieved November 3, 2013.
- "Inkpot Award Winners". Hahn Library Comic Book Awards Almanac. Archived from the original on July 9, 2012.
- "1997 Haxtur Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on December 29, 2013.
- "Will Eisner Hall of Fame". The Will Eisner Comic Industry Awards. 2014. Archived from the original on February 21, 2014.
- "2002 Haxtur Awards". Hahn Library Comic Book Awards Almanac. Archived from the original on December 29, 2013.
Further reading
- Comic Book Artist #21 (Aug. 2002): "Remembering John Buscema: A CBA Tribute", pp. 3B-39B
- Big John Buscema, Palma de Mallorca: Ajuntament de Palma, 2009. ISBN 978-84-87159-38-1
External links
- Shooter, Jim (August 2000). "Trimmings: John Buscema". The Comics Journal (226). Fantagraphics Books. Archived from the original on 9 November 2000. Retrieved 24 April 2017.
- "The Silver Age Marvel Comics Cover Index: John Buscema" at the Wayback Machine (archived December 5, 2001), Samcci.comics.org: Silver Age Cover Gallery, Retrieved on 2008-11-26; original site unresponsive 2008-12-02; from the Internet Archive
- John Buscema at the Comic Book DB (archived from the original)
- John Buscema at IMDb
- John Buscema Archived 2018-08-21 at the Wayback Machine at Mike's Amazing World of Comics
- John Buscema at the Unofficial Handbook of Marvel Comics Creators
Audio/video
- "Drawing Superheroes (1 of 3)". YouTube. December 9, 2007
| Preceded byDon Heck | The Avengers artist 1967–1969 |
Succeeded byGene Colan |
| Preceded byNeal Adams | Thor artist 1970–1977 |
Succeeded byWalt Simonson |
| Preceded byJohn Romita Sr. | Fantastic Four artist 1971–1973 |
Succeeded byRich Buckler |
| Preceded byBarry Smith | Conan the Barbarian artist 1973–1987 |
Succeeded byVal Semeiks |
| Preceded byn/a | Savage Sword of Conan artist 1974–1984 |
Succeeded byGary Kwapisz |
| Preceded byWalt Simonson | Thor artist 1978–1979 |
Succeeded byKeith Pollard |
| Preceded byBob Hall | Avengers artist 1985–1989 |
Succeeded byRich Buckler |
| Preceded byJerry Ordway | Fantastic Four artist 1986–1987 |
Succeeded byKeith Pollard |
| Preceded byMike Docherty | Savage Sword of Conan artist 1991–1993 |
Succeeded byRafael Kayanan |
| She-Hulk | |
|---|---|
| Supporting characters | |
| Teams | |
| Enemies | |
| Television | |
- 1927 births
- 2002 deaths
- American comics artists
- American storyboard artists
- Deaths from stomach cancer in New York (state)
- The High School of Music & Art alumni
- Golden Age comics creators
- Inkpot Award winners
- Marvel Comics people
- Artists from Brooklyn
- People from Port Jefferson, New York
- Silver Age comics creators
- Will Eisner Award Hall of Fame inductees
- American people of Italian descent