GREEN LANTERN (1960-86) #84
VF/NM: 9.0
(Stock Image)
SOLD ON: Monday, 12/07/2020 9:30 AM
$127
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PUBLISHER: DC
COMMENTS: white pgs
Adams bondage cover; Wrightson inks. Carmine Infantino photo on cover; COMIC BOOK IMPACT rating of 7 (CBI)
Read Description ▼
Adams bondage cover; Wrightson inks. Carmine Infantino photo on cover; COMIC BOOK IMPACT rating of 7 (CBI)
DESCRIPTION
white pgs
Adams bondage cover; Wrightson inks. Carmine Infantino photo on cover; COMIC BOOK IMPACT rating of 7 (CBI)Final 15-cent cover price. Cover art by Neal Adams. Peril in Plastic, script by Denny O'Neil, pencils by Neal Adams, inks by Bernie Wrightson; While Carol Ferris is in Piper's Dell, the sea wall protecting the town begins to give way, so Hal responds as Green Lantern; After saving the town, GL is given a tour of the plastic factory; Weakened by gas emitted by the plastic pins produced there, he is unable to fight back, so he sends his ring to Green Arrow; When he revives, he finds that his old enemy Black Hand uses the pins to keep the community under his control; He sends GL and Carol out into the streets to face the wrath of the townspeople, but Green Arrow arrives in time with GL's ring, and GL traps Black Hand in his own plastic. This issue features the memorable "Ka-loooota" sequence (a reference to artist Michael Kaluta).
Artist Information
Starting out as an amateur, a meeting with Frank Frazetta at a comic convention in 1967 inspired Bernie Wrightson to pursue his dream of becoming a comic book artist, he began working for DC after contributing work samples to Dick Giordano, in the Silver Age he would illustrate short stories in horror anthologies, in one of those tales he invented the Swamp Thing, who would be granted his own title, which Bernie drew the first ten issues of, then he moved over to Warren, known for their macabre content, and grew his fan base, at one point he was living in the same building as Al Milgrom, Howard Chaykin and Walt Simonson. He left comics to form an artist's collective known as 'The Studio' where he would concentrate on posters and lithographs, portfolios and the like, his adaptation of Mary Shelley's Frankenstein is commonly regarded as his finest achievement. His pen and ink and brush work on this black and white collection is elegant and emotionally resonant. He also collaborated with Stephen King on adapting his work like Creepshow. In later years he did spot work on comics, while continuing his poster work, notably illustrating the popular Batman: The Cult series. He passed away in 2017 after a long battle with brain cancer.
Adams bondage cover; Wrightson inks. Carmine Infantino photo on cover; COMIC BOOK IMPACT rating of 7 (CBI)Final 15-cent cover price. Cover art by Neal Adams. Peril in Plastic, script by Denny O'Neil, pencils by Neal Adams, inks by Bernie Wrightson; While Carol Ferris is in Piper's Dell, the sea wall protecting the town begins to give way, so Hal responds as Green Lantern; After saving the town, GL is given a tour of the plastic factory; Weakened by gas emitted by the plastic pins produced there, he is unable to fight back, so he sends his ring to Green Arrow; When he revives, he finds that his old enemy Black Hand uses the pins to keep the community under his control; He sends GL and Carol out into the streets to face the wrath of the townspeople, but Green Arrow arrives in time with GL's ring, and GL traps Black Hand in his own plastic. This issue features the memorable "Ka-loooota" sequence (a reference to artist Michael Kaluta).
Artist Information
Starting out as an amateur, a meeting with Frank Frazetta at a comic convention in 1967 inspired Bernie Wrightson to pursue his dream of becoming a comic book artist, he began working for DC after contributing work samples to Dick Giordano, in the Silver Age he would illustrate short stories in horror anthologies, in one of those tales he invented the Swamp Thing, who would be granted his own title, which Bernie drew the first ten issues of, then he moved over to Warren, known for their macabre content, and grew his fan base, at one point he was living in the same building as Al Milgrom, Howard Chaykin and Walt Simonson. He left comics to form an artist's collective known as 'The Studio' where he would concentrate on posters and lithographs, portfolios and the like, his adaptation of Mary Shelley's Frankenstein is commonly regarded as his finest achievement. His pen and ink and brush work on this black and white collection is elegant and emotionally resonant. He also collaborated with Stephen King on adapting his work like Creepshow. In later years he did spot work on comics, while continuing his poster work, notably illustrating the popular Batman: The Cult series. He passed away in 2017 after a long battle with brain cancer.