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SILVER SURFER: JUDGMENT DAY

John Buscema

SILVER SURFER: JUDGMENT DAY

Issue:

 GN

Year:

 1988

Page:

 62

Media:

 Pen and Ink

Art Type:

 Splash Page

Status: 

 Published Art

Artists: 

John Buscema (All)

John Buscema Silver Surfer: Judgment Day Original Splash Art – Story Page 62 (Marvel Comics, 1988). From the close of the Bronze Age of Comics – Original Full Splash comic art of Galactus, Mephisto, the Silver Surfer & Nova. The only page from this 64 page historic graphic novel that depicts all four characters! The crème de la crème of Marvel Comics!

The Story

Infinite Worlds Magazine on X: "Absolutely incredible cover art for 'Marvel Graphic Novel Vol. 1 #38 - Silver Surfer: Judgment Day' with pencils by the legendary John Buscema and paints by living

Written by John Buscema & Stan Lee and beautifully rendered by Buscema, this 64 page epic battle between Mephisto and Galactus remains the crème de la crème of Marvel Comics from the 1980’s!

Image

 

Recent auction results:

Silver Surfer: Judgment Day Page 43 – $45.1k (December 2022)

Silver Surfer: Judgment Day Page 48 – $46.6k (August 2023)

While soaring through space, the Silver Surfer comes across a mystic portal guarded by three beautiful women. Sensing that something is amiss, the Surfer refuses to enter the portal and the three sirens turn into demons. They attack him, but are quickly defeated by the Surfer. Watching the battle from a distance, Mephisto witnesses the failure of his latest attempt to steal the Silver Surfer’s soul.

The Silver Surfer continues with his travels and comes across Nova. They spend some time together, before Nova has to leave to continue her search for Galactus’ next planet to consume. The Surfer is relieved to see Nova pass over an inhabited planet as they part ways.

Nova comes across the same mystic portal that the Surfer found and is lured into it. Once inside she comes under the control of Mephisto, who increases her desire to please her master, Galactus. With this mental prodding, Nova ignores her goal to not destroy life and instead leads Galactus to every suitable planet that she can find whether it has life on it or not.

The Silver Surfer discovers that Nova is now leading Galactus to consume inhabited planets and quickly sets out to find the reason why. He confronts Nova and she becomes defensive. The Surfer tries to stop her from harming more planets and a battle between the two breaks out. Their battle attracts the attention of Galactus, who shows his displeasure of both by banishing them to the planet that they were fighting over.

Galactus leaves them to go and find more planets to consume and the Surfer is trapped, helpless to stop him. Mephisto appears and offers to free them from Galactus’ banishment, but only if the Silver Surfer gives him his soul. The Surfer resists at first, but concedes to the deal when he realizes that this is the only way to stop the planet-eater.

Mephisto takes them to his realm, but not before Nova sends out a distress signal to Galactus. Galactus arrives in Mephisto’s Realm and demands that his two herald’s are released. The two battle fiercely, but it quickly ends once Galactus threatens to consume the dark realm. Mephisto concedes and lets Galactus, Nova, and the Silver Surfer exit his domain.

The Silver Surfer is a fictional character appearing in American comic books published by Marvel Comics. The character also appears in a number of movies, television, and video game adaptations. The character was created by Jack Kirby and first appeared in the comic book Fantastic Four #48, published in 1966.

The first (and oldest) living entity in the universe, Galactus was created during the union of the Sentience of the (previous) Universe and Galan of Taa, and is described as “the physical, metamorphosed embodiment of a cosmos.” Although not an abstract, non-corporeal entity, his true form cannot be perceived by most beings; each species sees Galactus in a form they can comprehend, similar to their race or a deity of their religion. Galactus can also appear as a humanoid star when addressing fellow members of the cosmic hierarchy. Through his actions of consuming planets, Galactus embodies a living force of nature whose existence is necessary to correct the imbalances between the conceptual entities: Eternity and Death, as well as to serve as a cosmic test of survival for civilizations. Additionally, the continued existence of Galactus ensures the confinement of the cosmic entity Abraxas. As Galactus requires planets with the potential to support life, his existence also causes the extinction of entire extraterrestrial civilizations.

The consumption of planets is what maintains Galactus’ life and power. He usually employs the Elemental Converter, which converts matter into energy more efficiently, even though he is capable of feeding without it. Alternatively, Galactus can absorb energy directly from cosmic beings and even mystical entities—though with unpredictable results. Processing this cosmic energy allows Galactus to utilize a force known as the Power Cosmic to perform great feats, which have included universal cosmic awareness, telepathy, telekinesis, energy projection; size alteration; transmutation of matter; teleportation of objects across space, the creation of force fields and interdimensional portals; the creation of life, the resurrection of the dead, manipulating souls, memories and emotions, and mass-scale events such as recreating dead worlds in every detail (including illusions of their entire populations) and destroying multiple solar systems simultaneously.

To aid in his search for suitable planets, Galactus frequently appoints an individual as his herald, granting each one in turn a small fraction of the Power Cosmic. This power replaces the auras (or souls) of the recipient, with each wielder’s physical form adapting to store the energy and in turn allow manipulation for feats such as energy projection. Galactus is also capable of removing the Power Cosmic from the herald. Galactus has on occasion been severely weakened due to a lack of sustenance, and on one occasion was defeated while in this state by the combined efforts of both the Fantastic Four and the Avengers. In this weakened condition, Galactus has also shown susceptibility to Ikonn‘s spell, which forces him to remember all of the beings that he has killed due to his feeding.

Galactus also possesses scientific knowledge that is beyond comprehension as the oldest living entity in the universe. He is capable of building massive starships of his own design, humanoid robots called Punishers used to battle foes beneath his attention, the Ultimate Nullifier (a superweapon capable of destroying and remaking the Multiverse) and the solar system-sized and Möbius strip-shaped space station named Taa II. Mr. Fantastic has speculated that Taa II may be the greatest source of energy in the universe.

The Silver Surfer is a humanoid alien with metallic skin who can travel through space with the aid of his surfboard-like craft. Originally a young astronomer named Norrin Radd on the planet Zenn-La, he saved his home world from the planet devourer, Galactus, by serving as his herald. Imbued in return with some portion of Galactus’ Power Cosmic, he acquired vast power, a new body and a surfboard-like craft on which he could travel faster than light. Now known as the Silver Surfer, he roamed the cosmos searching for planets for Galactus to consume. When his travels took him to Earth, he met the Fantastic Four, who helped him rediscover his nobility of spirit. Betraying Galactus, he saved Earth but was exiled there as punishment.

In 2011, IGN ranked the Silver Surfer 41st in its “Top 100 Comic Heroes” list.[6] The character was portrayed by Doug Jones and voiced by Laurence Fishburne in the 2007 film Fantastic Four: Rise of the Silver Surfer.

Creation

Jack Kirby commented on the character’s creation during an interview stating “My conception of the Silver Surfer was a human being from space in that particular form. He came in when everybody began surfing — I read about it in the paper. The kids in California were beginning to surf. I couldn’t do an ordinary teenager surfing so I drew a surfboard with a man from outer space on it.”

Kirby further elaborated on the narrative role the character was created as “My inspirations were the fact that I had to make sales and come up with characters that were no longer stereotypes. In other words, I couldn’t depend on gangsters, I had to get something new. For some reason I went to the Bible, and I came up with Galactus. And there I was in front of this tremendous figure, who I knew very well because I’ve always felt him. I certainly couldn’t treat him in the same way I could any ordinary mortal. And I remember in my first story, I had to back away from him to resolve that story. The Silver Surfer is, of course, the fallen angel. When Galactus relegated him to Earth, he stayed on Earth, and that was the beginning of his adventures.”

The Silver Surfer debuted as an unplanned addition to the superhero-team comic Fantastic Four #48 (March 1966). The comic’s writer-editor, Stan Lee, and its penciller and co-plotter, Jack Kirby, had, by the mid-1960s, developed a collaborative technique known as the “Marvel Method“: the two would discuss story ideas, Kirby working from a brief synopsis to draw the individual scenes and plot details, with Lee finally adding the dialogue and captions. When Kirby turned in his pencil art for the story, he included a new character he and Lee had not discussed. As Lee recalled in 1995, “There, in the middle of the story we had so carefully worked out, was a nut on some sort of flying surfboard”. He later expanded on this, recalling, “I thought, ‘Jack, this time you’ve gone too far'”. Kirby explained that the story’s agreed-upon antagonist, a god-like cosmic predator of planets named Galactus, should have some sort of herald, and that he created the surfboard “because I’m tired of drawing spaceships!” Taken by the noble features of the new character, who turned on his master to help defend Earth, Lee overcame his initial skepticism and began adding characterization. The Silver Surfer soon became a key part of the unfolding story.

No photo description available.

Following the Surfer’s debut, Lee and Kirby brought him back as a recurring guest in Fantastic Four #55–61, 72, and 74–77 (ranging Oct. 1966 – Aug. 1968). The character made his solo debut in the backup story of Fantastic Four Annual #5 (Nov. 1967).

Beginning in August 1968, Lee launched the solo title The Silver Surfer. John Buscema was penciller for the first 17 issues of the series, with Kirby returning for the 18th and final issue. The first seven issues, which included anthological “Tales of the Watcher” backup stories, were 72-page (with advertising), 25-cent “giants”, as opposed to the typical 36-page, 12-cent comics of the time. Thematically, the stories dealt with the Surfer’s exile on Earth and the inhumanity of man as observed by this noble yet fallen hero. Though short-lived, the series became known as one of Lee’s most thoughtful and introspective works.

Following his series’ cancellation, the Surfer made sporadic appearances as a guest star or antagonist in such comic books as ThorThe Defenders, and Fantastic Four. Lee remained partial to the Surfer, even asking other writers not to use him as a general rule and with Kirby collaborated on a seminal 1978 graphic novel starring the character, the only original story featured in the Marvel Fireside Books series.

Subsequent series

After a 1982 one-shot by writer-artist John Byrne (with scripting by Stan Lee), the Surfer appeared in his second solo ongoing title in 1987.

Initially written by Steve Englehart, the series was to be set on Earth and one issue was completed under this premise before Marvel agreed to let Englehart remove the long-standing restriction regarding Silver Surfer being imprisoned on Earth. This first issue was shelved and a brand new first issue was written, to set up this plot twist; the original first issue would ultimately be reprinted in Marvel Fanfare #51. The series marked the first Silver Surfer stories not written by Stan Lee, a fact which Lee was openly unhappy about. He explained:

After I gave up Spider-Man then someone else did Spider-Man, and someone else did the Fantastic Four and Doctor Strange and the X-Men and all of them. I felt that it was kind of nice for me to have been the only writer of the Silver Surfer, so I felt a little bit disappointed when somebody else did it. I would have liked to have been the only person. Had I known they were absolutely going to have the book done, I would have found the time to do it myself. I didn’t really have time but I would have made the time, rather than have anybody else do it. … this is not at all a criticism of Steve [Englehart] or of Marshall [Rogers, artist on the series], it’s just that it’s one book that I would have liked to have always done myself.

Englehart introduced many villains for Silver Surfer, as well as featured space politics involving Surfer’s home world; Zenn-La, which was caught in the middle of a renewed Kree–Skrull War. However, issues regarding Englehart wanting to use his Avengers character Mantis as Silver Surfer’s companion, as well as editorial refusing to let him use Thanos or other concepts conceived by Jim Starlin, led Englehart to leave the book with issue #31. Starlin took over as writer with issue #34 after several fill-in issues, and incorporated Thanos, Adam Warlock, and Drax the Destroyer into the series.

Under Jim Starlin and later Ron Marz, the series would receive acclaim and sales boost due to Silver Surfer’s involvement with Starlin’s Infinity Trilogy, with George Pérez and J. M. DeMatteis also having brief writing stints on the series as well. Additional artists included Tom GrindbergRon Garney, and Jon J. Muth, as well as periodic guest spots by John Buscema. The title experienced great initial success which allowed Marvel to push the character into other media, including a 1990 video game, 1992 trading card set, and 1998 animated series, as well as spinning off a variety of other comics series including Cosmic PowersCosmic Powers UnlimitedCaptain Marvel vol. 2, and Star Masters. It ran 146 issues, through 1998. The next year it was followed by the two-issue miniseriesSilver Surfer: Loftier Than Mortals.

A two-issue Silver Surfer miniseries (later collected as Silver Surfer: Parable), scripted by Lee and drawn by Moebius, was published through Marvel’s Epic Comics imprint in 1988 and 1989. Because of inconsistencies with other stories, it has been argued that these stories actually feature an alternate Silver Surfer from a parallel Earth. That miniseries won the Eisner Award for best finite/limited series in 1989.

The Artist

One Avengers Moment Left A Classic Marvel Writer Speechless

 

John Buscema (/bjˈsɛmə/ 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 penciled 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.

Born in Brooklyn, New York City, from Sicilian parents who emigrated from PozzalloRagusa, 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 ValiantBurne Hogarth‘s TarzanAlex 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. WyethNorman RockwellDean CornwellCoby WhitmoreAlbert 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 ShoresCarl BurgosMike SekowskyGeorge 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 RomancesTwo-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.

Buscema married in 1953. He continued to freelance for Timely, by now known as Atlas Comics, as well as for the publishers Ace ComicsHillman Periodicals, Our Publications/Orbit, Quality ComicsSt. 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 Westernwar, 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 mysteryfantasy, and science-fiction stories for Atlas Comics’ Tales to AstonishTales 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.

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 [issues] 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 [Jack] Kirby’s supercharged action figures, harrowing perspectives, monolithic structures, mega-force explosions, and mythological planet-scapes 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 KleinFrank GiacoiaDan AdkinsJoe Sinnott, his younger brother Sal BuscemaTom 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.

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 AmericaCaptain Britain (Marvel UK), DaredevilThe Frankenstein MonsterHoward the DuckMaster of Kung FuRed 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 UnleashedTales of the Zombie) to humor (CrazyPizzaz).

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.

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 penciling 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.

Image

 

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 penciled 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.”

The Published Page

The Art

Original Full Splash of Galactus, Mephisto, The Silver Surfer & Nova. The only page from this 64 page historic graphic novel that depicts all four characters! A rage-filled Mephisto spars with Galactus over the fate of the Heralds (The Silver Surfer & Nova)! The art was published in June 1988 as Page 62 to the stand-alone graphic novel. Extraordinary!

The art is accomplished in ink over graphite on illustration board and measures approximately 11 1/2 x 17 1/2 inches. The artist signed the piece along the top right-center margin. The work is in excellent condition.

From a private collection.

Bid HERE at ComicConnect.com!

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