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John Romita Sr.

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John Victor Romita(/rəˈmiːtə/;January 24, 1930 – June 12, 2023) was an American comic book artist best known for his work onMarvel Comics'The Amazing Spider-Manand for co-creating characters includingMary Jane Watson,thePunisher,Kingpin,Wolverine,andLuke Cage.Romita was the father ofJohn Romita Jr.,also a comic book artist, and the husband of Virginia Romita, who was for many years Marvel's traffic manager.

John Romita Sr.
Romita smiling
Romita in 2006
BornJohn Victor Romita
(1930-01-24)January 24, 1930
New York City, U.S.
DiedJune 12, 2023(2023-06-12)(aged 93)
Floral Park, New York,U.S.
Area(s)Penciller,Inker
Notable works
Awards
Spouse(s)
Virginia Bruno
​
(m.1952)​
Children2, includingJohn Jr.

His first comics work was in 1949 as aghost artistforTimely Comics,the precursor to Marvel, through which Romita met editor-in-chiefStan Lee.In 1951, Romita began drawing horror, war, and romance comics forAtlas Comics(previously Timely), and also drew his first superhero work, a 1950s revival ofCaptain America.He worked exclusively forDC Comicsfrom 1958 to 1965 and was the artist for many of their romance comics. During these years, Romita further developed his ability to draw beautiful women, which he later became well-known for.

Romita joined Marvel in 1965, initially drawingDaredevilcomics. In 1966, whenSpider-Manartist and co-creatorSteve Ditkoleft Marvel, Romita was chosen by writer Lee as the new artist forAmazing Spider-Man.Within a year of Romita becoming the Spider-Man artist,The Amazing Spider-Manrose from Marvel's second-best-selling title to the company's top-seller. Romita brought a new romance style to Spider-Man comics that soon became the new design for the character. In June 1973, Romita was promoted to Marvel's art director and heavily influenced the look of Marvel comics throughout the 1970s and 1980s. Romita was inducted into theWill Eisner Comic Book Hall of Famein 2002.

Early life

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John Victor Romita[2]was born on January 24, 1930, inBrooklyn,New York City, where he was also raised.[3]The son of Marie and Victor Romita, a baker,[4][5]he also had three sisters and a brother.[4]Romita was ofItaliandescent, fromSicily.He began drawing at 5 years old.[6]Romita graduated fromManhattan'sSchool of Industrial Artin 1947, having attended for three years after spending ninth grade at a Brooklynjunior high school.[7]Among his instructors wereHoward Simon,a book illustrator, and Ben Clements, a magazine illustrator.[8]Romita was deeply influenced by a variety of artists and illustrators. As a young reader of comics, he admiredNoel Sickles,Roy Crane,andMilton Caniff.[4]Caniff'sTerry and the Piratesin particular was an early inspiration for Romita.[9]Later in his career, he also drew inspiration fromSy Barry,Alex Toth,andCarmine Infantino.[10]Beyond comics, he looked up to commercial illustrators such asJon Whitcomb,Coby Whitmore,andAl Parker.[11][12]

On Romita's 17th birthday, he received his first artist work from theManhattan General Hospital.Ananesthesiologistpaid Romita $60 a week to create a medical exhibit onpneumatologymedicine, which Romita completed in six months.[13]Romita entered the comics industry in 1949 on the seriesFamous Funnies."Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it—and rightfully so".[14][15]

Career

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Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when comic bookinkerLester Zakarin,[16]a friend from high school whom he ran into on a subway train, offered him either $17[17]or $20[14]a page topencila 10-page story, possibly a crime comic about 1920s mobsters,[11]for him as an uncreditedghost artist.Now making more money on two pages than his usual weekly salary, Romita accepted the story and continued to ghost for Zakarin on other work.[14]The work was for Marvel's 1940s forerunner,Timely Comics,which helped give Romita an opportunity to meet editor-in-chief and art directorStan Lee.Romita ghost-penciled for Zakarin on Trojan Comics'Crime-Smashersand other titles, eventually signing some "Zakarin and Romita".[11]

Atlas Comics

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Captain America#78 (September 1954). Cover art by Romita.

The collaboration ended in early 1951, when Romita wasdraftedinto theU.S. Army.[4]Taking the initiative prior to induction, he showed art samples to the base art director onGovernors IslandinNew York Bay,who arranged for him to be stationed there to do layouts for recruitment posters[11]once Romita had completed basic training atFort Dix,New Jersey.[4]Romita was promoted to corporal after seven or eight months; now allowed to live off the post, he rented an apartment in Brooklyn.[18]

When not on duty, Romita could leave the base and go into Manhattan. In mid- to late 1951, he recalled in 2002, "I went uptown one day for lunch. I stopped over at Stan Lee's [office in theEmpire State Building,where Timely Comics had by now evolved intoAtlas Comics], and his secretary came out... and I said, 'Stan doesn't know my name but I've worked for him for over a year'. I was in uniform! She must've told him this GI... wants to do some comics. She said, 'Stan said here's a four-page science fiction story'. I penciled it and struggled with my first inking. That was the first story I did on my own. I didWesternsandwar storiesthen ".[11]The collectionMarvel Visionaries: John Romita Sr.[19]and former Marvel editor-in-chiefRoy Thomas,inAlter Ego9, each identify that four-page science fiction story as "It!", about a murderous alien in the guise of a baby.[4]That story saw print inStrange Tales#4 (December 1951), although the Grand Comics Database lists Romita's first identified published comic-book work as penciler andinkerof the six-page story "The Bradshaw Boys" in Atlas'Western Outlaws#1 (February 1951)—published nearly a year earlier.[20]This may refer to a ghosted Zakarin story. The Atlas Tales database lists both "It!" and the six-page "Out of My Mind", inAstonishing#7 (also December 1951), as Romita's first full penciling and inking—although "It!" carries a later job number (9118) than the other tale (8964).[21]

Romita went on to draw a wide variety ofhorror comics,war comics,romance comicsand other genres for Atlas. His most prominent work for the company was the short-lived 1950s revival of Timely's hit characterCaptain America,inYoung Men#24–28 (December 1953 – July 1954) andCaptain America#76–78 (May–September 1954).[22]Romita had been offered the Captain America work by Lee after Mort Lawrence's art was deemed unsatisfactory.[23]The character was billed now as "Captain America, Commie Smasher" in the wake of theCold Warand faced enemies associated with theSoviet Union.[24]The series was a commercial failure, and was cancelled after just three issues.[25]Romita attributed the series' failure to the changing political climate, particularly the public opposition to theKorean War;the character subsequently fell out of active publication for nearly a decade.[26]

Additionally, Romita would render one of his first original characters,M-11the Human Robot, in a five-page standalone science-fiction story inMenace#11 (May 1954). While not envisioned as an ongoing character, M-11 was resurrected decades later as a member of the super-hero teamAgents of Atlas.[27]Romita was the primary artist for one of the first series with a black star, "Waku, Prince of the Bantu" —created by writerDon Ricoand artistOgden Whitneyin the omnibus titleJungle Tales#1 (September 1954). The ongoing short feature starred anAfricanchieftain in Africa, with no regularly featuredCaucasiancharacters. Romita succeeded Whitney with issue #2 (November 1954).[22]

DC Comics romance-comics artist

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In the mid-1950s, while continuing to freelance forAtlas,Romita did uncredited work forDC Comics.[28]Romita had been recommended to DC's editors by his artist friendCarmine Infantinowhile serving in the Korean War.[29]After declining comics sales in the late 1950s forced Atlas to let most of their artists go, Romita transitioned to work for DC exclusively in 1958.[30]His first known work for the company is the tentatively identified penciling credit for the cover ofromance comicSecret Hearts#58 (October 1959), and, confirmably, pencils for the seven-page story "I Know My Love", inked by Bernard Sachs inHeart Throbs#63 (January 1960). Other titles to which he contributed includeFalling in Love,Girls' Love Stories,Girls' Romances,andYoung Love.[31]

Romita's artwork for these stories followed the house style for DC comics, and the first pages of his issues were often done by another artist. The cover art forromance comicswas soon done primarily by Romita.[12]He would "swipe"—an artists' term for using existing work as models, a common practice among novices—frommovie stillsand from theMilton Caniffcomic stripTerry and the Pirates.[12]Bernard Sachs andSy Barryinked some of Romita's romance work, but Romita began inking his own pencils in the late 1950s or early 1960s.[12]Romita had hoped a DC editor would eventually offer him a superhero comic, such as aBatmanfiller issue, but Romita remained on the romance titles.[32]

Shortly afterward, however, romance comics began declining in popularity, and by 1965, DC had ceased buying art for new romance comics. The company then only used romance comics from their large inventory of previously unpublished comics or published reprints. Romita was not offered work by the other genre departments, although admitted he did not try to present himself to them either.[33]Romita's last known DC story work was the six-page "My Heart Tricked Me", inked by Sachs, inGirls' Romances#121 (December 1966), though his spot illustrations, some or all of it reprints of earlier work, continued to appear on one-page "beauty tip" and other filler pages, as well as on letters pages, through early 1970, as did the occasional reprinted story.[22]

Joining Marvel Comics

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Even before his final original DC story was published, Romita had already returned to freelance for what had now becomeMarvel Comics.His first work for Marvel was inkingJack Kirby's cover andDon Heck's interior pencils on thesuperhero-team comicThe Avengers#23 (December 1965).[22]

Romita directed most of his efforts, however, toward findingadvertisingstoryboardwork. He obtained a position at the large ad agencyBBDOthrough his friend Al Normandia, one of the firm'sart directors."They were going to pay me $250 a week. I'd made just over $200 a week with the romance [comics] but only by killing myself" with long hours of work. Struggling to find new ideas for comics, Romita decided he would only doinkingfor comic work again.[34]

Marvel editorStan Lee,however, had heard of Romita leaving DC, and asked to see him. At a three-hour meeting over lunch, Romita recalled that Lee promised to match the agency salary if Romita would come work for Marvel. Lee also assured him the freedom to choose his work location, allowing him to work either from home or the office on any given day, based on Romita's own preference.[35]Romita had also received an offer to work in advertising, but chose Marvel instead because Lee had promised consistent assignments.[36]Though Romita felt he no longer wanted topencil,in favor of being solely an inker, Lee soon enticed him otherwise:

I had inked anAvengersjob for Stan, and I told him I just wanted to ink. I felt like I was burned out as a penciler after eight years of romance work. I didn't want to pencil any more; in fact, I couldn't work at home any more—I couldn't discipline myself to do it. He said, "Okay," but the first chance he had he shows me thisDaredevilstory somebody had started and he didn't like it, and he wanted somebody else to do it.[37][He] showed meDick Ayers' splash page for aDaredevil[and] asked me, 'What would you do with this page?' I showed him on a tracing paper what I would do, and then he asked me to do a drawing of Daredevil the way I would do it. I did a big drawing of Daredevil... just a big, tracing-paper drawing of Daredevil swinging. And Stan loved it.[4]

Romita began a brief stint onDaredevilbeginning with issue #12 (January 1966), initially penciling over Jack Kirby's dynamic layouts as a means of learning Marvel's storytelling house style. Sales perked; while the title had a smaller print run than Marvel flagshipsThe Amazing Spider-ManandFantastic Four,it briefly had the company's highest percentage of sales compared to print-run.[4]It also proved to be a stepping-stone for Romita's signature, years-long penciling run onThe Amazing Spider-Man.[38]During this time, a DC editor offered Romita to work on theirMetamorphocharacter, but he declined.[39]Lee wrote a two-partDaredevilstory for issues #16–17 (May–June 1966) with Spider-Man guest starring, to see the character depicted by Romita.[14]

Spider-Man

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The reason for the tryout was the growing estrangement betweenSpider-Manco-creatorsStan LeeandSteve Ditko.When Ditko abruptly left Marvel after completingThe Amazing Spider-Man#38 (July 1966), Lee gave Romita the assignment. This followed Romita's eight-issueDaredevilrun, the cover of the subsequent issue #20 (September 1966), and an incidentalHulkand twoCaptain Americastories (inTales to Astonish#77, March 1966, andTales of Suspense#76–77, April–May 1966, respectively). While Romita's depiction of Spider-Man would eventually become the company mascot and the definitive look to the general public, the artist had trepidations:

I was hoping against it, believe it or not. People laugh when I say this, but I did not want to do Spider-Man. I wanted to stay on Daredevil. The only reason I did Spider-Man was because Stan asked me and I felt that I should help out, like a good soldier. I never really felt comfortable on Spider-Man for years.... I felt obliged to [mimic] Ditko because... I was convinced, in my own mind, that he was going to come back in two or three issues.... I couldn't believe that a guy would walk away from a successful book that was the second-highest seller at Marvel.... After six months, when I realized it wasn't temporary, I finally stopped trying to [mimic] Ditko.... I was doing these nine-panel pages and the thin line, and I was doing Peter Parker without any bone structure—just like Ditko was doing, I thought.[4]

Lee later commented that this transition in Romita's style actually worked out for the benefit of the series, as it gradually weaned readers off the Ditko look while ultimately allowing Romita to work in the style he most excelled at.[40]Romita took overThe Amazing Spider-Manwith issue #39 (August 1966).[41]His first inker on what would become Marvel's flagship series wasMike Esposito,who initially used the pseudonym "Mickey Demeo" to conceal from his regular employer, rivalDC Comics,that he was moonlighting at Marvel.[42][43]After three issues, Romita inked himself for issues #43–48 (November 1966 – May 1967), before Esposito returned—uncredited for issue #49 (June 1967),[44]then as Mickey Demeo until finally taking credit under his own name with issue #56 (January 1968). Except for one issue (#65) inked by his successor,Jim Mooney,the Romita-Esposito team continued through issue #66 (November 1968),[22]establishing the new look of Spider-Man.The Amazing Spider-Manhad been Marvel's second-best-selling title at the time Romita began drawing it. Within a year, it overtookFantastic Fourto become the company's top seller.[45]

Romita based the design forMary Jane Watsonon the actressAnn-Margret.

Romita designed the look ofMary Jane Watson,a supporting character in theSpider-Manseries who would later become the lead character's romantic interest.[46]Romita has stated that in designing Mary Jane, he "usedAnn-Margretfrom the movieBye Bye Birdieas a guide, using her coloring, the shape of her face, her red hair and her form-fitting short skirts. "[47]Mary Jane Watson made her first full appearance inThe Amazing Spider-Man#42 (November 1966),[48]although she first appeared in #25 (June 1965) with her face obscured and had been mentioned since #15 (August 1964).Peter Davidwrote in 2010 that Romita "made the definitive statement of his arrival by pulling Mary Jane out from behind the oversized potted plant [that blocked the readers' view of her face in issue #25] and placing her on panel in what would instantly become an iconic moment."[49]Other characters that debuted in the Lee-Romita era include theRhinoin #41 (October 1966),[50]theShockerin #46 (March 1967),[51]theKingpinin #50 (June 1967),[52]andGeorge Stacyin #56 (January 1968). Romita had based George Stacy on actorCharles Bickford.[53]Lee and Romita's stories focused as much on the social and college lives of the characters as they did on Spider-Man's adventures.[54]The stories became more topical, addressing issues such as theVietnam War,[55]political elections,[56]andstudent activism.[57]

Romita, increasingly called upon to do art corrections and touch-ups, and to interface with artists for ever-busy editor Lee, became Marvel'sde factoart director.[58]Cutting back on his Spider-Man workload, Romita began doing only layouts, with finished pencils byDon Heckor Jim Mooney for nearly every issue for a year-and-a-half (#57–75, February 1968 – August 1969). Romita then stepped back for six issues, drawing only covers whileJohn Buscemalaid out issues #76–81 (September 1969 – February 1970) for others to finish.[59]

These steps at reducing Romita's Spider-Man workload had mixed results, Romita recalled in 2001, saying, "Stan was always trying to speed me up. He had Don Heck pencil over my breakdowns for a while.... Then, when Don had finished the pencils, [Lee would] call me in to fix up anything... that he didn't like. Even after it was inked, he'd have me changing what the inker had done. I told him, 'This was supposed to save me time, but it isn't!'".[4]Romita's initial run on the title, abetted by the three other artists,[Note 1]lasted through issue #95 (April 1971).Gil Kanesucceeded him as Spider-Man's regular penciler through issue #105 (February 1972). Romita then began a second stint, doing full pencils for issues #105–115 and #119 (February–December 1972, April 1974), and providing occasional inking and most of the cover art through issue #168 (May 1977). Romita suggested to writerGerry Conwaythat supporting characterGwen Stacyshould die at the hands of theGreen Goblinin "The Night Gwen Stacy Died"in issue #121 (June 1973).[60][61][62]Her demise and the Goblin's apparent death one issue later formed a story arc widely considered as the most defining in the history of Spider-Man.[63]In a June 2017 interview withSyFy Wire,Romita namedThe Amazing Spider-Man#108 and 109 as the two stories he was proudest of, explaining that by the time he did those issues, he was no longer invoking Steve Ditko, and was asserting his own style as an artist. Romita pointed to theMilton Caniff-inspired brushwork with which he rendered those pages, and lamented no longer owning the originals.[64]

Comics-art historian Daniel Herman assessed of Romita's Spider-Man work:

Romita's transformation of the character redefined the character's look and took the strip in a different direction. It also made him a star artist in the comic book world. The trouble was, Romita took Spidey away from his roots and firmly planted him in the mainstream...[65]Marvel staffers would joke that Romita "took Spider-Man uptown". Romita reinvented the character and made it possible for [Spider-Man] to appeal to a wider audience, even if he removed the qualities that had made the strip a surreal standout.[66]

Romita was the artist forthe Spider-Man newspaper comic stripfrom its launch on January 3, 1977[67]through late 1980.[14]He continued in his role as Marvel's art director during this time, anticipating that the strip would not last.[68]Romita had promised Lee that he would continue the comic strip as long as sales continued to grow.[69]The Spider-Man comic strip reached an audience of 500 newspapers, making it one of the most popular adventure comic strips at the time.[70]At the start of the fourth year, the strip's number had begun to stagnate and then decline.[69]

Marvel Comics art director

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After editor-in-chief and art directorStan Leeassumed the positions of publisher and president in 1972, he promoted Romita to the position ofart directorin July 1973[58]after Romita had been in that position unofficially but on staff since 1972.[14]In that capacity through at least the late 1980s,[14]Romita played a major role in defining the look of Marvel Comics and in designing new characters. Among the characters he designed or helped design are thePunisher,[15]Wolverine,[71]Luke Cage,[72]Bullseye,[73]Tigra,[74]andBrother Voodoo.[75][76]Romita's catlike design for Wolverine was based on an encyclopedia description he found on wolverines, as vicious short animals with claws.[77]For the Punisher, a rough sketch was provided by writerGerry Conway,with a skull and crossbones on the chest. Feeling this was too simple, Romita made the skull larger to encompass the Punisher's torso, with his belt buckle resembling teeth. Romita also designedNatasha Romanova's Black Widow outfit, inspired byMiss Fury.[78]

Romita collaborated withThe Electric Companyand to produceSpidey Super Storiescomics, which were aimed at a younger audience and created with help from child psychologists. The series had 57 comics produced between 1974 and 1982. Romita created another program called "Romita's Raiders", which allowed young artists to gain hands-on experience and learn from the art staff at Marvel.[79]

In 1976, Romita did uncredited art corrections on the large-format, first DC/Marvelintercompany crossover,Superman vs. the Amazing Spider-Man,over the pencils ofRoss Andru.[80][81]Later that same year, Romita inked Jack Kirby's pencil work onCaptain America's Bicentennial Battles,aone-shotstory published in an oversizedtreasury format.[82]Around 1980, Romita's art directing duties expanded from comic books to special projects. His duties included supervising and hiring other artists, providing corrections and cover sketches when needed, and drawing art for various merchandise.[69]

Romita's cover for the April 27 – May 3, 2002, issue ofTV Guide

Later career

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Romita inked the debut of newCaptain MarvelMonica Rambeau inThe Amazing Spider-Man Annual#16 (1982)[83]and the first appearance of theHobgoblininThe Amazing Spider-Man#238 (March 1983).[84]He was one of six pencilers onPeter Parker, the Spectacular Spider-Man#121 (December 1986), and he penciled the nine-page story "I Remember Gwen" inThe Amazing Spider-Man#365 (August 1992, the 30th-anniversary issue)[85]and an eight-page backup story starring the hero and supporting character theProwlerinPeter Parker, the Spectacular Spider-Man Annual#13 (1993).[22]In 1996, Romita announced his semi-retirement, but continued to work on multiple comics projects.[86]

Romita both penciled and inked the 10-page backup story "The Kiss" —aflashbackin whichPeter Parker(Spider-Man) and his girlfriendGwen Stacyshare their first kiss—inWebspinners: Tales of Spider-Man#1 (January 1999). He drew analternate-universeversion of the Spider-Man characters in theone-shotSpidey: A Universe X Special(2001), and penciled the final four pages of the 38-page story in the milestoneThe Amazing Spider-Man#500 (December 2003) together with his sonJohn Jr.penciling the other pages. Romita drew one of four covers to the April 27 – May 3, 2002, issue ofTV Guideto promote the release of the2002Spider-Manfilm.[87]

In the early 2000s, Romita contributed to multi-artist jams in commemorative issues. He did a panel inCaptain Americavol. 3, #50 (February 2002), starring the first Marvel superhero he had drawn; a portion ofIron Manvol. 3, #40 (May 2001), although the hero was not one of the artist's signature characters; a panel forDaredevilvol. 2, #50 (October 2003); and a few pages featuring Karen Page inDaredevilvol. 2, #100 (October 2007), done in the style of theromance comicshe had drawn decades earlier. Romita both penciled and inked the cover ofDaredevilvol. 2, #94 (February 2007) in that same romance comics style. The following year he drew avariant coverof his signature series, forThe Amazing Spider-Man#568 (October 2008), doing so again with #642 (November 2010).[22]

A Romita image of Spider-Man and a Hulk image penciled byRich Bucklerand inked by Romita were among the "Marvel Super Heroes" set ofcommemorative stampsissued by theU.S. Postal Serviceon July 27, 2007.[88]

As of 2013, he served on the Disbursement Committee of the comic-book industry charityThe Hero Initiative.[89]

Awards

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Romita received anInkpot Awardin 1979,[90]and was inducted into theWill Eisner Award Hall of Famein 2002.[91]Romita was inducted into theInkwell Awards Joe Sinnott Hall of Famein 2020.[92]

Personal life

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John Romita Jr.in 2019

John Romita Sr. married childhood sweetheart Virginia Bruno in November 1952, who also worked on staff at Marvel as traffic manager from 1975 to 1996.[93][94]They lived inBrooklyn'sBensonhurstneighborhood until 1954, when they bought a house in theQueensneighborhood ofQueens Village.[10]Some years later, the family moved toBellerose, New York,onLong Island.[71]

Romita and his wife had two sons, Victor andJohn Jr.(born August 17, 1956),[3]who followed in his footsteps to become a noted comic-book artist himself.[4]At the time of his death, Romita had three grandchildren and one great-granddaughter.[95]

Death

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Romita died in his sleep at his home inFloral Park, New Yorkon June 12, 2023, at the age of 93.[96][2]The news was broken by his son, John Jr., the following day.[86]

Artistic style

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Romita has been credited with creating a new Spider-Man art style with romance and adventure influences that appealed to an even wider audience.[97]He drew a more handsome Peter Parker and beautiful women, and depicted "beautiful suffering" that combined soap opera and fantasy themes.[98]The Romita have been described as "The artist's line work became more rounded, and his depiction of women in particular became a real strength that would sustain him in years to come. His women were described as" fair of face but realistic rather than stylized "and displayed distinctive personalities through body language.[99]Comic artistAlex Rosshas stated, "For me, John's Spidey is a design of such perfection and beauty so as to be simply the greatest-looking character in comics, by his hand."[100]

While working on DC's romance comics, Romita, finding the stories dull and repetitive, began looking for ways to add more personality into the artwork. For example, Romita would add flowing hair on women or objects moving in the wind for panels that had little happening and depicting characters from unique angles.[101]After moving to Marvel, Romita was known for drawing stylistic deep shadows and defined bone structure.[102]

Bibliography

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DC Comics

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  • DC 100 Page Super Spectacular#5 (1971)
  • Falling in Love#31, 35, 50, 53–55, 70, 81 (1959–1966)
  • Girls' Love Stories#82–88, 90–99, 101, 116, 120, 138, 140, 162, 165, 170 (1961–1972)
  • Girls' Romances#23, 62, 76, 85, 93–95, 114, 121, 129, 159–160 (1953–1971)
  • Heart Throbs#63, 65–67, 77–86, 90, 93, 99, 101 (1959–1966)
  • Secret Hearts#43, 60, 69–70, 78–93, 109, 152–153 (1957–1971)
  • Young Love#39–43, 45–54 (1963–1966)
  • Young Romance#125–128, 130–132, 171–172, 175 (1963–1971)

Marvel Comics

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  • Adventures into Weird Worlds#21 (1953)
  • All-True Crime#44 (1951)
  • The Amazing Spider-Man#39–58, 67, 72, 82–83, 87–88, 93–95, 106–119, 132, 365, 500Annual '96#1 (as penciller); #89–92, 96, 120–125, 146, 151, 238, 247, 274, 400,Annual#16 (as inker only) (1966–2003) (Romita drew additionalSilver Ageissues as layout artist for pencilersDon HeckandJim Mooney.)
  • The Amazing Spider-Manvol. 2, #18 (inker) (2000)
  • The Amazing Spider-Man Special Edition(1982)
  • The Amazing Spider-Mancomic strip(1977–1980)
  • Astonishing#7, 18, 24, 43, 57, 61 (1951–1957)
  • The Avengers#23 (inker) (1965)
  • Battle#14, 26, 39, 45, 49, 53, 57–59 (1952–1958)
  • Battle Action#20, 22, 25, 27, 29 (1955–1957)
  • Battlefront#6, 10 (1952–1953)
  • Battle Ground#9 (1956)
  • Black Knight#4 (1955)
  • Captain America#114, 138–145, 148 (1969–1972)
  • Captain Americavol. 3 #50 (among other artists) (2002)
  • Captain America Comics#76–78 (1954)
  • Caught#2 (1956)
  • Combat#3, 6 (1952)
  • Commando Adventures#2 (1957)
  • Cowboy Action#10 (1956)
  • Crime Cases Comics#7 (1951)
  • Crime Exposed#5 (1951)
  • Daredevil#12–19 (1966)
  • Daredevilvol. 2 #50, 100 (among other artists) (2003–2007)
  • Doctor Strangevol. 2 #7 (inker) (1975)
  • Droids#1–4 (1986)
  • Fantastic Four#103–106, 108 (1970–1971)
  • Frontier Western#7 (1957)
  • Gunsmoke Western#38 (1956)
  • The Incredible Hulk Annual#17 (1991)
  • Journey into Unknown Worlds#22 (1953)
  • Jungle Action#2–6 (1954–1955)
  • Justice#42 (1954)
  • Kid Colt Outlaw#70 (1957)
  • Kingpin#1 (1997)
  • Lorna, the Jungle Girl#17–26 (1956–1957)
  • Love Romances#35, 37 (1954)
  • Marines in Battle#3–4, 19 (1954–1957)
  • Marvel Presents: Guardians of the Galaxy#3 (inker, Cover Art) (February 1976)
  • Marvel Romance Redux: But I Thought He Loved Me#1 (inker) (2006)
  • Marvel Romance Redux: Guys & Dolls#1 (inker) (2006)
  • Marvel Romance Redux: Love is a Four-Letter Word#1 (2006)
  • Marvel Tales#108 (1952)
  • Marvel Talesvol. 2 #81 (1977)
  • Marvel Treasury Special#2 ( "Captain America's Bicentennial Battles" ) (inker) (1976)
  • Men's Adventures#22, 24, 28 (1953–1954)
  • Menace#3, 6, 8, 11 (1953–1954)
  • My Love#1–3, 14, 16 (1969–1972)
  • My Love Story#9 (1957)
  • My Own Romance#36, 40 (1954)
  • Mystery Tales#7, 37, 41 (1953–1956)
  • Mystic#11, 15, 23, 25 (1952–1953)
  • Navy Action#5 (1955)
  • Navy Combat#12 (1957)
  • Our Love Story#1–2, 5 (inker) (1969–1970)
  • Outlaw Kid#5 (1955)
  • Questprobe#1 (inker) (1984)
  • Ringo Kid#11 (1956)
  • Savage Tales(Femizons) #1 (1971)
  • Secret Story Romances#16, 18 (1955)
  • Sergio AragonésMassacres Marvel#1 (inker) (1996)
  • Six-Gun Western#1, 4 (1957)
  • Spaceman#1 (1953)
  • The Spectacular Spider-Man#121,Annual#13 (1986–1993)
  • The Spectacular Spider-Manmagazine #1–2 (1968)
  • Spellbound#13, 24, 26–28 (1953–1956)
  • Spider-Man#57 (penciller) (1995)
  • Spider-Man/Kingpin: To the DeathOneshot (penciller) (1997)
  • Spider-Man: The Mutant Agenda#0 (1994)
  • Spy Cases#5 (1951)
  • Stories of Romance#5, 11 (1956–1957)
  • Strange Tales#4, 35 (1951–1955)
  • Strange Tales of the Unusual#1 (1955)
  • Suspense#20, 25 (1952)
  • Tales of Suspense(Captain America) #76–77 (1966)
  • Tales to Astonish#67 (Giant Man); #77 (Hulk) (inker) (1965–1966)
  • The Tomb of Draculamagazine #2 (inker) (1979)
  • True Secrets#4, 13, 38 (1951–1956)
  • Two Gun Western#8 (inker) (1951)
  • Ultimate Spider-ManSuper Special#1 (2002)
  • Uncanny Tales#10 (1953)
  • Uncanny X-Men#177 (inker) (1984)
  • Universe X: Spidey#1 (inker) (2001)
  • Untold Tales of Spider-Man#-1 (1997)
  • Vampire Tales#2 (1973)
  • War Action#10–11 (1953)
  • War Adventures#7, 9 (1952)
  • War Comics#10, 16, 20, 29, 40, 42 (1952–1956)
  • Web of Spider-Man#52 (inker) (1989)
  • Webspinners: Tales of Spider-Man#1 (1999)
  • Western Kid#1–17 (1954–1957)
  • Western Outlaws#1, 7, 11, 13–14 (1954–1956)
  • Western Outlaws and Sheriffs#70 (1951)
  • Wild Western#24 (1952)
  • World of Mystery#2 "(1956)
  • World of Suspense#5 (1956)
  • Young Men#24–28 (Captain America) (1953–1954)

Marvel Comics and DC Comics

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Source:[22]

Notes

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  1. ^With issue #73, and then #76–81, Romita provided only covers and was absent from the inside, with Buscema providing layouts for penciler-inker Mooney. Romita returned with issue #82, doing layouts for Mooney to finish. Romita fully penciled the next issue, and then returned to layouts only, finished by Buscema, Mooney and Heck variously, through #87. He penciled the following issue himself.Gil Kanethen penciled a four-issue stint with Romita inking and continuing to draw covers. Romita then finished his initial run penciling issues #93–95 (February–April 1971).

References

edit
  1. ^Brian K. Vaughan(w),Fiona Staples(a). "Chapter Four"Saga,no. 4, p. 28 (June 2012).Image Comics.
  2. ^abTaylor, Derrick Bryson; Gustines, George Gene (June 14, 2023)."John Romita Sr., Creative Force at Marvel Comics, Is Dead at 93".The New York Times.Archivedfrom the original on June 14, 2023.RetrievedJune 14,2023.
  3. ^abMiller, John Jackson(June 10, 2005)."Comics Industry Birthdays".Comics Buyer's Guide.Iola, Wisconsin. Archived fromthe originalon February 18, 2011.RetrievedDecember 12,2010.
  4. ^abcdefghijkThomas, Roy;Morris, Brian K. (July 2001)."Fifty Years On The 'A' List: A Candid Conversation With Marvel Artist/Art Director Supreme John Romita".Alter Ego.TwoMorrows Publishing.Archivedfrom the original on September 13, 2012.RetrievedJune 14,2023– via Twomorrows.{{cite web}}:CS1 maint: multiple names: authors list (link)
  5. ^Hamilton 2007,p. 4.
  6. ^Romita Sr., John (October 21, 2022)."The John Romita Sr. 2001 Shoot Interview".Comic Book Historians(Interview). Interviewed by David Armstrong.Archivedfrom the original on June 3, 2023.RetrievedJune 14,2023– viaYouTube.
  7. ^Spurlock & Romita 2002,pp. 8–9.
  8. ^Spurlock & Romita 2002,p. 9.
  9. ^Thomas & Amash 2007,p. 17.
  10. ^abSpurlock & Romita 2002,p. 17.
  11. ^abcdeSpurlock & Romita 2002,p. 11.
  12. ^abcdSpurlock & Romita 2002,p. 16.
  13. ^Thomas & Amash 2007,p. 15.
  14. ^abcdefgKeefe, Jim; Mietus, John (n.d.)."Interview: John Romita".Keefe Studios.Archivedfrom the original on October 24, 2009.
  15. ^abJohn Romita Sr., inSpurgeon, Tom."Spider-Man At 50 Part Four: A John Romita Sr. Interview From 2002".TheComicsReporter. Archived fromthe originalon August 20, 2012.RetrievedMarch 8,2014.
  16. ^Spurlock & Romita 2002,p. 10.
  17. ^Spurlock & Romita 2002,pp. 10–11.
  18. ^Romita interview,Alter Ego#9, p. 11; appears in print version only
  19. ^Lee, Stan; Romita, John; Romita, DeFalco; Thomas, Roy; Stern, Roger (2005).Marvel Visionaries: John Romita Sr.Marvel Comics.ISBN0-7851-1780-6.
  20. ^"GCD:: Story Search Results".comics.org.RetrievedJune 19,2023.
  21. ^"John Romita".atlastales.RetrievedJune 19,2023.
  22. ^abcdefghJohn Romitaat theGrand Comics DatabaseandJohn Romita Sr.at theGrand Comics Database
  23. ^Thomas & Amash 2007,p. 65.
  24. ^Wright 2001,p. 123.
  25. ^Wright, Bradford W. (2001).Comic Book Nation: The Transformation of Youth Culture in America.Johns Hopkins University Press.p. 123.ISBN978-0-8018-7450-5.
  26. ^Amash, Jim (April 2004)."'Captain America Was A Dirty Name': John Romita On the First Superhero He Ever Drew – Captain America ".Alter Ego.3(35). TwoMorrows Publishing: 24.
  27. ^DeFalco, Tom; Sanderson, Peter; Brevoort, Tom; Teitelbaum, Michael; Wallace, Daniel; Darling, Andrew; Forbeck, Matt; Cowsill, Alan; Bray, Adam (2019).The Marvel Encyclopedia.DK Publishing. p. 220.ISBN978-1-4654-7890-0.
  28. ^"John Romita Sr".Lambiek Comiclopedia.April 14, 2012.Archivedfrom the original on November 2, 2013.
  29. ^Hamilton 2007,p. 11.
  30. ^Hamilton 2007,pp. 13–16.
  31. ^Thomas & Amash 2007,pp. 40, 186.
  32. ^Thomas & Amash 2007,p. 38.
  33. ^Spurlock & Romita 2002,p. 18.
  34. ^Spurlock & Romita 2002,p. 19.
  35. ^Spurlock & Romita 2002,pp. 20–22.
  36. ^Spurgeon & Cunningham 2011,p. 36.
  37. ^"John Romita Sr.: Spidey's Man"(interview),Comic Book Artist#6, Fall 1999.WebCitation archive.
  38. ^Manning, Matthew K. (2012). "1960s". In Gilbert, Laura (ed.).Spider-Man Chronicle Celebrating 50 Years of Web-Slinging.London, United Kingdom:Dorling Kindersley.p. 35.ISBN978-0756692360.Artist John Romita, the penciler that would define the looks of Spider-Man and Peter Parker for an entire generation, had his first crack at drawing the web-slinger in a two-part story of the Stan Lee penned seriesDaredevil.
  39. ^Hamilton 2007,p. 19.
  40. ^Thomas, Roy (August 2011). "Stan Lee's Amazing Marvel Interview!".Alter Ego(104). Raleigh, North Carolina: TwoMorrows Publishing: 12.
  41. ^Manning "1960s" in Gilbert (2012), p. 36
  42. ^Ro, Ronin (2004).Tales to Astonish: Jack Kirby, Stan Lee and the American Comic Book Revolution.London, United Kingdom:Bloomsbury Publishing.p. 92.ISBN978-1582345666.
  43. ^Evanier, Mark(April 14, 2008)."Why did some artists working for Marvel in the sixties use phony names?".News From ME. Archived fromthe originalon November 26, 2009.RetrievedJuly 28,2008.
  44. ^The Amazing Spider-Man#49 (June 1967)at the Grand Comics Database
  45. ^Thomas, Roy;Sanderson, Peter(2007).The Marvel Vault: A Museum-in-a-Book with Rare Collectibles from the World of Marvel.Philadelphia, Pennsylvania:Running Press.p.98.ISBN978-0762428441.
  46. ^Manning "1960s" in Gilbert (2012), p. 37: A beautiful, fun-loving 'swinger', Mary Jane Watson wandered into Peter Parker's life, changing it forever and capturing more than her fair share of attention. "
  47. ^Saffel, Steve (2007). "A Legend Is Born".Spider-Man the Icon: The Life and Times of a Pop Culture Phenomenon.London, United Kingdom:Titan Books.p. 27.ISBN978-1-84576-324-4.
  48. ^DeFalco, Tom(2008). "1960s". In Gilbert, Laura (ed.).Marvel Chronicle A Year by Year History.London, United Kingdom:Dorling Kindersley.p. 119.ISBN978-0756641238.After teasing the readers for more than two years, Stan Lee finally allowed Peter Parker to meet Mary Jane Watson.
  49. ^David, Peter;Greenberger, Robert(2010).The Spider-Man Vault: A Museum-in-a-Book with Rare Collectibles Spun from Marvel's Web.Philadelphia, Pennsylvania:Running Press.p.38.ISBN978-0762437726.
  50. ^DeFalco "1960s" in Gilbert (2008), p. 119: "The first original super-villain produced by the new Spider-Man team of Stan Lee and John Romita was the Rhino."
  51. ^DeFalco "1960s" in Gilbert (2008), p. 121
  52. ^DeFalco "1960s" in Gilbert (2008), p. 122: "Stan Lee wanted to create a new kind of crime Boss. Someone who treated crime as if it were a business... He pitched this idea to artist John Romita and it was Wilson Fisk who emerged inThe Amazing Spider-Man#50. "
  53. ^Thomas & Amash 2007,p. 88.
  54. ^Manning "1960s" in Gilbert (2012), p. 37: "[Stan Lee] knew that most readers tuned in every month for a glimpse of that side of Spider-Man's life as much as they did to see the wall-crawler battle the latest supervillain."
  55. ^Manning "1960s" in Gilbert (2012), p. 39:The Amazing Spider-Man#47 (April 1967) "Kraven's latest rematch with Spidey was set during a going-away party for Flash Thompson, who was facing the very real issue of the Vietnam War draft."
  56. ^Manning "1960s" in Gilbert (2012), p. 43:The Spectacular Spider-Man#1 (July 1968) "Drawn by Romita and Jim Mooney, the mammoth 52-page lead story focused on corrupt politician Richard Raleigh's plot to terrorize the city."
  57. ^Manning "1960s" in Gilbert (2012), p. 46:The Amazing Spider-Man#68 (January 1969) "Stan Lee tackled the issues of the day again when, with artists John Romita and Jim Mooney, he dealt with social unrest at Empire State University."
  58. ^abDaniels, Les(1991). "Research and Development (1970–1978)".Marvel: Five Fabulous Decades of the World's Greatest Comics.New York, New York:Harry N. Abrams.pp. 161 and 163.ISBN9780810938212.In July 1973, Stan Lee announced that John Romita had been officially appointed Marvel's art director... Unofficially, Romita had been moving into the position for some time.
  59. ^The Amazing Spider-Man(Marvel, 1963 series)at the Grand Comics Database
  60. ^Sanderson, Peter "1970s" in Gilbert (2008), p. 159: "In June [1973], Marvel embarked on a story that would have far-reaching effects.The Amazing Spider-Manartist John Romita, Sr. suggested killing off Spider-Man's beloved Gwen Stacy in order to shake up the book's status quo. "
  61. ^Manning "1970s" in Gilbert (2012), p. 68: "This story by writer Gerry Conway and penciler Gil Kane would go down in history as one of the most memorable events of Spider-Man's life."
  62. ^David and Greenberger p. 49: "The idea of beloved supporting characters meeting their deaths may be standard operating procedure now but in 1973 it was unprecedented... Gwen's death took villainy and victimhood to an entirely new level."
  63. ^Saffel "Death and the Spider", p. 65: "Death struck again, with repercussions that would ripple through comics from that day forward."
  64. ^"Spider-Man Legend John Romita Sr. on His Favorite Issues, Redefining Spidey".SyFy Wire.June 8, 2017. Archived from the original on June 21, 2023.RetrievedOctober 10,2023.{{cite web}}:CS1 maint: bot: original URL status unknown (link)
  65. ^Herman, Daniel.Silver Age: The Second Generation of Comic Book Artists.New Castle, Pennsylvania:Hermes Press,2005,ISBN1-932563-64-4,ISBN978-1-932563-64-1,p. 166
  66. ^Herman, p. 167
  67. ^Saffel, "An Adventure Each Day", p. 116: "On Monday January 3, 1977,The Amazing Spider-Mancomic strip made its debut in newspapers nationwide, reuniting writer Stan Lee and artist John Romita. "
  68. ^Cassell, Dewey (October 2010). "One Day at a Time: The Amazing Spider-Man Newspaper Strips".Back Issue!(44).TwoMorrows Publishing:64.
  69. ^abcThomas & Amash 2007,p. 59.
  70. ^Spurgeon & Cunningham 2011,p. 46.
  71. ^abLovece, Frank(April 23, 2009)."Bellerose artist created X-Men's Wolverine".Newsday.Archivedfrom the original on October 7, 2012.
  72. ^Sanderson "1970s" in Gilbert (2008), p. 155: "In the early 1970s there was a wave of movies about African-American adventure heroes. Marvel responded to this withLuke Cage, Hero for Hireby writer Archie Goodwin and artist John Romita, Sr. "
  73. ^Mithra, Kuljit (November 1997)."Interview With Marv Wolfman".Manwithoutfear.Archivedfrom the original on November 10, 2013.
  74. ^Cassell, Dewey (August 2006). "Talking About Tigra: From the Cat to Were-Woman".Back Issue!(17). Raleigh, North Carolina: TwoMorrows Publishing: 26–33.
  75. ^Aushenker, Michael (April 2014). "Disposable Heroes".Back Issue!(71). Raleigh, North Carolina:TwoMorrows Publishing:33–37.'[John] Romita and I designed the character,' Wein says.
  76. ^Comtois, Pierre (2011).Marvel Comics In The 1970s: An Issue-By-Issue Field Guide To A Pop Culture Phenomenon.Raleigh, North Carolina: TwoMorrows Publishing.ISBN978-1605490342.Credited on the splash page [ofStrange Tales#169] for 'creative contributions' were [Roy] Thomas and art director John Romita, who no doubt came up with the character (Romita supplied the cover which might've doubled as a concept sketch before the book was produced.)
  77. ^Thomas & Amash 2007,p. 55.
  78. ^Thomas & Amash 2007,p. 57.
  79. ^Hamilton 2007,p. 24.
  80. ^McAvennie, Michael (2010). "1970s". In Dolan, Hannah (ed.).DC Comics Year By Year A Visual Chronicle.London, United Kingdom:Dorling Kindersley.p. 170.ISBN978-0-7566-6742-9.Many talents from both DC and Marvel contributed to this landmark publication – in addition to inker Dick Giordano, Neal Adams provided several redrawings of Superman while John Romita, Sr. worked on numerous Peter Parker/Spider-Man likenesses.
  81. ^Greenberg, Glenn (December 2012). "Tabloid Team-Ups The Giant-Size DC-Marvel Crossovers".Back Issue!(61). Raleigh, North Carolina: TwoMorrows Publishing: 33–40.
  82. ^Powers, Tom (December 2012). "Kirby Celebrating America's 200th Birthday:Captain America's Bicentennial Battles".Back Issue!(61). Raleigh, North Carolina: TwoMorrows Publishing: 46–49.
  83. ^Manning "1980s" in Gilbert (2012), p. 131: "Writer Roger Stern and artists John Romita Jr. and John Romita Sr. introduced readers to a brand new Captain Marvel, an African-American woman with energy-based powers called Monica Rambeau."
  84. ^Manning "1980s" in Gilbert (2012), p. 133: "Writer Roger Stern and artists John Romita Jr. and John Romita Sr. introduced a new – and frighteningly sane – version of the [Green Goblin] concept with the debut of the Hobgoblin."
  85. ^Cronin, Brian (February 12, 2019)."Stan Lee and John Romita's Final Farewell to Gwen Stacy".Comic Book Resources.Archivedfrom the original on February 13, 2019.RetrievedFebruary 13,2019.
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  88. ^""Postal Service Previews 2007 Commemorative Stamp Program" (October 25, 2006 press release) ".USPS. October 25, 2006. Archived fromthe originalon May 8, 2009.RetrievedAugust 10,2010.
  89. ^"Hero Initiative Board Members Disbursement Committee".The Hero Initiative.2013. Archived fromthe originalon June 21, 2013.
  90. ^"Inkpot Award Winners".Hahn Library Comic Book Awards Almanac.Archivedfrom the original on July 9, 2012.
  91. ^"Will Eisner Award Hall of Fame".San Diego Comic-Con.n.d.Archivedfrom the original on June 23, 2016.
  92. ^"Inkwell Awards Winners 2020".Inkwell Awards.Archivedfrom the original on April 15, 2021.RetrievedMay 9,2010.
  93. ^Cohen, Lynn E. "Bullpen Bulletins," Marvel comicscover-datedJanuary 1984.
  94. ^Romita interview,Alter Ego#9, p. 10; appears in print version only
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  97. ^Spurgeon & Cunningham 2011,p. 40.
  98. ^Spurgeon & Cunningham 2011,p. 43.
  99. ^Spurgeon & Cunningham 2011,p. 35.
  100. ^Spurgeon & Cunningham 2011,p. 3.
  101. ^Hamilton 2007,p. 17.
  102. ^Hamilton 2007,p. 18.

Works cited

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Wikimedia Commons has media related toJohn Romita Sr..
Preceded by Daredevilartist
1966 		Succeeded by
Preceded by Tales of Suspense
( "Captain America"feature)
artist
1966 		Succeeded by
Jack Kirby
Preceded by The Amazing Spider-Manartist
1966–1970 		Succeeded by
Preceded by
Jack Kirby
 Fantastic Fourartist
1970–1971 		Succeeded by
Preceded by
Gene Colan
 Captain Americaartist
1971–1971 		Succeeded by
Preceded by
Gil Kane
 The Amazing Spider-Manartist
1972–1973 		Succeeded by
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