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The Shadow! Read His Startling Adventures Poster Framed 22″ x 28″ These were printed by comic artist and illustrator Jim Steranko, who produced many cover paintings for reprintings of The Shadow novels in the 1970s. These posters were printed around the time he was running his club, The Shadow Secret Society. Good condition. This poster arrives to you framed. Frame is new. If you prefer to receive it without a frame, in a tube, please see our other listing which has the poster unframed. Lee and Kirby had initiated the 12-page « Nick Fury, Agent of S.H.I.E.L.D. » feature in Strange Tales #135 (Aug. 1965), with Kirby supplying such inventive and enduring gadgets and hardware as the Helicarrier – an airborne aircraft carrier – as well as LMDs (Life Model Decoys) and even automobile airbags. Marvel’s all-purpose terrorist organization Hydra was introduced here as well. Steranko began his stint on the feature by penciling and inking « finishes » over Kirby layouts in Strange Tales #151 (Dec. 1966), just as many fellow new Marvel artists did at the time. Two issues later, Steranko took over full penciling and also began drawing the every-other-issue « Nick Fury » cover art. Then, in a rarity for comics artists of the era, he took over the series’ writing with #155 (April 1967), following Roy Thomas, who had succeeded Lee. In another break with custom, he himself, rather than a Marvel staff artist, had become the series’ uncredited colorist by that issue. « Nick Fury, Agent of S.H.I.E.L.D. » soon became one of the creative zeniths of the Silver Age, and one of comics’ most groundbreaking, innovative and acclaimed features. Wrote Les Daniels, in his Comix: A History of Comic Books in America, « Even the dullest of readers could sense that something new was happening. … With each passing issue Steranko’s efforts became more and more innovative. Entire pages would be devoted to photocollages of drawings that ignored panel boundaries and instead worked together on planes of depth. The first pages … became incredible production numbers similar in design to the San Francisco rock concert poster of the period ».0 His peers took note of his experimentation. Writer-artist Larry Hama, in an introduction to Nick Fury collection, said Steranko « combined the figurative dynamism of Jack Kirby with modern design concepts », and recostumed Fury from suits and ties to « a form-fitting bodysuit with numerous zippers and pockets, like a Wally Wood spacesuit revamped by Pierre Cardin. The women were clad in form-fitting black leather a la Emma Peel in the Avengers TV show. The graphic influences of Peter Max, Op Art and Andy Warhol were embedded into the design of the pages – and the pages were designed as a whole, not just as a series of panels. All this, executed in a crisp, hard-edged style, seething with drama and anatomical tension. » Steranko introduced or popularized in comics such art movements of the day as psychedelia and op art, drawing specifically on the « aesthetic of Salvador Dalí, » with inspiration from Richard M. Powers, ultimately synthesizing a style he termed « Zap Art. » A.M. Viturtia notes Steranko drew on the James Bond novels, and claims that the influence went both ways: « Although Steranko was primarily influenced by spy movies, after Nick Fury came on the comics scene, the directors of those same movies began to borrow heavily from Steranko himself! » He absorbed, adapted and built upon the groundbreaking work of Jack Kirby, both in the use of photomontage (particularly for cityscapes), and in the use of full- and double-page-spreads. Indeed, in Strange Tales #167 (Jan. 1968), Steranko created comics’ first four-page spread, upon which panorama he or editor Lee bombastically noted, « to get the full effect, of course, requires a second ish copy of the issue placed side-by-side, but we think you’ll find it to be well worth the price to have the wildest action scene ever in the history of comics! »2 All the while, Steranko spun outlandishly action-filled plots of intrigue, barely sublimated sensuality, and a cool-jazz hi-fi hipness. Writer Steven Ringgenberg assessed that Steranko’s Marvel work became a benchmark of ’60s pop culture, combining the traditional comic book art styles of Wally Wood and Jack Kirby with the surrealism of Richard Powers and Salvador Dalí. Steeped in cinematic techniques picked up from that medium’s masters, Jim synthesized … an approach different from anything being done in mainstream comics, though it did include one standard attraction: lots of females in skintight, sexy costumes. Countess Valentina (Val) Allegro De Fontaine; « Valentina Allegra di Fontaine » made her debut in Strange Tales #159 (Aug. 1967) by flooring Nick Fury during a training session, proving that she could take care of herself! She looked like a character who had just stepped out of a James Bond poster.3 Captain America #111 (March 1969): Steranko’s signature surrealism. Inking by Joe Sinnott. She and Steranko’s other skintight leather-clad version of Bond girls pushed what was allowable under the Comics Code at the time. One example is a silent, one-page seduction sequence with the Countess in Nick Fury, Agent of S.H.I.E.L.D. #2, described by Robin Green in Rolling Stone: So one panel had the stereo in Fury’s apartment to show there was music playing, cigarettes in the ash tray in one, there was a sequence of intercut shots where she moved closer to him, much more intimately, there was a kiss, there was a rose, and then there was one panel with the telephone off the hook, which the comic book code sic; « Comics Code » made him put back on. … The last panel on that page had Nick and his old lady kneeling, with their arms around each other, and that was entirely too much for the Code, so the panel was replaced with a picture of a gun in its holster. When reprinted in Nick Fury, Agent of S.H.I.E.L.D.: Who Is Scorpio? (Marvel Enterprises, 2001; ISBN 0-7851-0766-5), however, Steranko’s original final panel was reinserted: In a black-and-white long shot with screentone shading, the couple is beginning to embrace, with Fury standing and the Countess on one knee, getting up. Another reprinting, in Marvel Masterworks: Nick Fury Agent of S.H.I.E.L.D. Volume 2 (Marvel Publishing, 2009; ISBN 978-0-7851-3503-6), used the published final panel, although the appendix included the original art, showing the page as initially drawn. Each instance uses Steranko’s original telephone panel, not the redrawn published version. Fury’s adventures continued in his own series, for which Steranko contributed four 20-page stories: « Who is Scorpio? » (issue #1); « So Shall Ye Reap … Death » (#2), inspired by Shakespeare’s The Tempest; « Dark Moon Rise, Hell Hound Kill » (#3), a Hound of the Baskervilles homage, replete with a Peter Cushing manqué; and the spy-fi sequel « What Ever Happened to Scorpio? » (#5). Yet after deadline pressures forced a fill-in « origin » story by another team in issue #4, Steranko produced merely a handful of additional covers, then dropped the book. Decades afterward, however, their images are among comics’ best known, and homages to his art have abounded – from updates of classic covers with different heroes in place of Fury, to recreations of famous pages and layouts. Steranko also had short runs on X-Men (#50–51, Nov.–Dec. 1968), for which he designed a new cover logo, and Captain America (#110–111, 113, Feb.–March, May 1969). Steranko introduced the Madame Hydra character in his brief Captain America run. With no new work immediately forthcoming, a « Marvel Bullpen Bulletins » fan page in spring 1969 announced that, « In case you’ve been wondering what happened to Jaunty Jim Steranko, … he is working on a brand-new feature, which will shortly be spotlighted in Marvel Super-Heroes. And talk about a secret – he hasn’t even told us what it is! » The referred-to project never appeared. Steranko went on to write and draw a horror story that precipitated a breakup with Marvel. Though that seven-page tale, « At the Stroke of Midnight », published in Tower of Shadows #1 (Sept. 1969), would win a 1969 Alley Award, editor Lee, who had already rejected Steranko’s cover for that issue, clashed with Steranko over panel design, dialog, and the story title, initially « The Lurking Fear at Shadow House ». According to Steranko at a 2006 panel and elsewhere, Lee disliked or did not understand the homage to horror author H. P. Lovecraft, and devised his own title for the story. After much conflict, Steranko either quit or was fired. Lee phoned him about a month later, after the two had cooled down. In a contemporaneous interview, conducted November 14, 1969, Steranko reflected on the tiff: The reason I had a little altercation with them is because they edited some of my work. They changed certain things that I didn’t feel should be changed. And I insisted that we couldn’t continue on that basis. … For example, my horror story « At the Stroke of Midnight » had a line of dialogue added. The meek husband said, « I’m nervous because it’s closer to midnight » or something like that; simply a gratuitous line. It wasn’t my title and it didn’t have that line in it. Stan originally wanted that story to be called « Let Them Eat Cake, » which I didn’t approve of. We had disagreements about the way I told stories. … If you’re a publisher and you want my work, you get it my way or you don’t get it at all. … Anyway, I have an agreement now, a working agreement with them, and everything’s cool.Summing up this initial stint in comics, Steranko said in 1979, I was getting the top pay at Marvel, along with Kirby and John Buscema, and I felt privileged to be considered in their class. Both of them were better comic artists. But working at Marvel was also a serious cut in pay compared to my advertising work. My life was hectic then. I worked as the art director for an ad agency in the afternoon, played in a rock band at night, and worked on my comic book pages early in the morning. It’s a peculiar thing, but the more I learned about storytelling, the slower I became. Eventually I had to stop playing in the band; later I left the agency. There were plenty of hassles with Stan Lee, of course. I felt that if I was good enough to work for them, then they should accept my work without a lot of maddening editorial changes. But now, I think I may have been wrong. After all, Marvel was paying the tab. Stan is a great editor. He stresses storytelling and really knows the comics business, probably better than anyone else. Steranko returned briefly to Marvel, contributing a romance story (« My Heart Broke in Hollywood », Our Love Story #5, Feb. 1970) and becoming the cover artist for 15 comics beginning with Doc Savage #2–3, Shanna the She-Devil #1–2, and Supernatural Thrillers #1–2 (each successively cover-dated Dec. 1972 and Feb. 1973), and ending with the reprint comic Nick Fury and his Agents of S.H.I.E.L.D. #2 (April 1973).

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