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mjolnir-steve · 2 years

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Holly Jolly Husband

Frank Adler x fem!reader

Word count: 2515

Summary: You and Frank ship up to Boston with Mary to visit your mother-in-law for the holidays. Unfortunately, you get snowed in, but that doesn't mean you and your husband aren't able to get a little hot and heavy. 😏

Warnings: smut (18+ only!!!!!!), some cursing, breeding kink, unprotected sex (m/f), tiny bit of fluff, sprinkle of corny jokes

Author's note: This is my second entry for @stargazingfangirl18, @navybrat817, and @drabblewithfrannybarnes’s Happy Hoelidays Challenge! I'm thrilled to be sharing this and happy that I've managed to write two fics for this challenge, a total of three fics in one month (a new record for me). 🥰

Thank you so much to Iva (@beefybuckrrito) for beta-reading this, making me laugh, and letting me blather on about my own breeding kink (oop!), especially when it comes to cranky Frankie. We all have to thank Thevy (@the-sal-del-mar) for the elaboration on nipple play and suggestions for reader's dirty talk. 🥴

(Dialogue prompts are in bold!)

Evelyn Adler was on your last goddamn nerve. It was your first Christmas with Frank after getting married in the fall, and you somehow ended up spending it snowed in at your mother-in-law’s home outside of Boston. Frank suggested that you and Mary join him in wearing ugly sweaters to dinner, insisting that he “had no idea” his mother required formal wear for the party she hosted on Christmas Eve.

From the moment you arrived that morning, Evelyn made you want to scream. She paid no attention to you or Frank until the two of you would try to sneak away for a moment. Then all of a sudden, she just needed Francis to check something with her car or she simply couldn’t allow you to attend the party with your hair looking like that. In a house as large as hers, you thought it would be easy to lose her, but she was always hot on your heels, deceptively saccharine insults at the ready.

For whatever reason, Evelyn stipulated that gifts be exchanged on Christmas Eve, after dinner and before dessert. She showered Mary with presents, including a desktop computer and several mathematics textbooks that were now out of print. Mary was elated, and you hoped that Evelyn had gotten at least one comparably nice gift for her son. To his (completely expected) dismay, Frank received two custom-made suits, one black and one navy. However, you were delighted, anxious to see how your newly minted husband looked in the expensive material.

“Thank you so much, Evelyn,” you smiled, hearing him mumble something about gotta be fuckin’ kidding me under his breath as your hand ever so slightly crept up his thigh.

“Oh, I almost forgot!” Evelyn rushed to the other side of the tree, retrieving a small, but beautifully wrapped box. She handed it to you, and upon feeling its weight, you hoped it was the new Bluetooth speaker you’d asked for. Knowing your mother-in-law, it was probably some expensive tchotchke, but you were surprised she’d gotten you anything at all.

You untied the ribbon carefully, wanting to save it to make a headband for Mary. You removed the wrapping paper to reveal a plain, white cardboard box. You smiled at Evelyn as you opened the box, gasping at her audacity when you found a large scented candle similar to one you’d purchased recently at Target. And of course, it wasn’t even a scent that you liked, rendering the thoughtless gift useless, too.

Frank clocked the tic of your jaw and the new tension in your neck, your tendons straining as he willed the steam not to escape your ears when Evelyn grinned and asked if you liked your present. He decided to defuse the situation before the bomb inevitably burst, taking advantage of Mary’s preoccupation with working on problems in her new Moleskine notebook with her rose gold and pearl Montblanc fountain pen.

“Honey, will you come upstairs with me for a sec? I think we forgot something. Come help me look?”

You looked at him in confusion before you noticed the slight nod of his head toward the staircase.

“Oh, right! Let’s go check. Thanks, Evelyn.” You flipped her off behind her back as you passed, making Frank chuckle and give your ass a light smack as you walked ahead of him.

As soon as Frank closed and locked the bedroom door behind you, you launched yourself into his arms, screeching into his chest.

“Your mother is actually insufferable, Adler. I cannot understand how you came from her.”

You walked in circles around the room, waving your hands so wildly that you began to resemble an air traffic controller. “It would have been better if she just didn’t give me anything. Do you see how calculatedly insulting she is? You know this already. I know you know this.”

You pulled at your hair as you rambled, your husband sitting at the edge of the bed and listening as you let it out. “She bought a ten-year-old a thousand-dollar pen! Who the actual fuck spends that much money on a pen, Frank? For a TEN-YEAR-OLD. I’m tempted to throw the candle through the front window like a brick. That’s all it’s good for since it smells like shit.”

Frank chuckled as he listened to you. He hated that you were so angry, but he’d be lying if he said his dick hated your passion in the moment.

“I’m sorry, Y/N. We shouldn’t have even come. I just didn’t want to disappoint Mary. She wanted to see the snow and I should have said n-”

You walked over to him and pressed a finger to his pouty lips, one of your favorite features of his. “You have nothing to apologize for, babe. And I’m not going to get an apology from the person who owes me - us - one.”

His hands found your waist, thumbs brushing back and forth in the pattern he knew instantly soothed you.

You ran your hands through his thick, messy hair, pulling his face to your belly. “Frankie?”

“Mhm.”

“Just promise me when we have our own children, we’re not going to do this shit.” His grip on you tightened. “We’re going to buy them normal presents. If they end up being geniuses like Mary, then they can do math with a mechanical pencil from the drugstore like everyone else.”

He pressed a kiss to your stomach before leaning back to look up at you, his normally bright, sky blue eyes now darkened like a hurricane was coming, and you were in a fucking rowboat with one oar.

But he let you continue, slowly standing up as you rattled on. “And if Evelyn wants to spend the holidays with her grandkids, she can come to Florida. I’m not dealing with her nonsense when we have little ones running around. I don’t need her immaturity on top of ev-”

You yelped as Frank backed you up into the wall, pinning you there with his thick thigh between your legs. “So children, huh? Like… more than one?”

You rolled your eyes at him in a lazy attempt to hide the way he quickly affected you. “Out of everything I said, that’s the only thing that stood out to you?”

“No, lots of things stood out, but now something else is standing out because of it.” He pressed his body against yours, glancing down between you.

You tried to duck away, but he kept you caged in with his arms and thigh. “You know, you pretend to be this brooding, mysterious man, but you’re actually just a giant cornball.”

“You love it.”

“I never said I didn’t.” You couldn’t help but giggle at his impatience when he started fiddling with the hem of your sweater.

He hummed as you subconsciously ground yourself down on his thigh. “Well, since we’ve established you love my corny ass, let me help you out of that ugly sweater.”

“Frank, there’s a whole party going on downstairs. We can’t. Your mother or Mary will come looking f-”

“Sweetheart, I wasn’t really asking.” You knew you were fucked (literally) when he switched to sweetheart from honey. Frank only broke out that term of endearment when he was about to wreck you thoroughly.

He bunched up your skirt past your hips after removing your sweater, mentally noting that he should not have purchased you a sweater covered in jingle bells if his intention was to remove it during a holiday party.

“Frank, is this why you told me to wear a skirt instead of jeans?” The last word of your question devolved into some kind of broken moan as he got to work nipping and sucking at the tops of your breasts.

He huffed and looked you in the eyes. “I can neither confirm nor deny whether this was premeditated. Now come on.” He tapped your hip, signaling you to hop up and wrap your legs around his unfairly narrow waist.

You dipped your head to kiss him as he worked his thumb over your clit, your folds exposed now that he’d pushed your panties to the side. You whined into his mouth as he teased you, scratching your back against the wall.

“If I knew just talking about having kids would make you lose your mind, I’d have mentioned it SO much sooner, fuck.” Your eyes closed as his lips found one of the more sensitive spots on your throat.

With that, Frank harshly thrust two thick fingers inside you, pleased to find you were more than wet and wanting enough to take him. “Love getting you all worked up for me like this, sweetheart. Don’t even need to prep you.”

“Good. We don’t have time for you to prep me, Adler.” You clenched around his fingers for good measure. “Bed. Now.”

“So bossy, Adler,” he whispered in between kisses as he walked you over to the bed, laying you down gently before removing his jeans and boxers.

“Sweater, too. We are not trying to conceive while you’re wearing that thing,” scrunching your nose at his knit monstrosity depicting the Boston Tea Party, complete with 1776 emblazoned across the back in metallic silver thread.

He hummed as he kissed across your chest before standing up to remove his clothes. “So good to me, Y/N. Gonna give you the best gift of all.”

You raised your eyebrows at him as he rested his weight on top of you. “Yeah? What’s that?”

He smirked as he reached between you, lining himself up with your aching heat. “A belly full of me.”

“So corny,” you whisper-moaned as he sank into you, rendering you unable to talk back to him for once.

Although you and Frank had been sleeping together for the better part of three years, you were amazed by how full you felt every single time. Although his hands were rough from his work, his touch was always gentle, as if you were a rare book whose pages he couldn’t wait to turn. Even when you were in a rush or wanted it rough, he treated you with such care and warmth, only the sun itself might compare. The way he handled your body and your heart made you think you were meant to be.

Frank kissed you, using his tongue to silence your moans as he thrust into you once, twice, three times. Covering your mouth with his large hand, he nipped at your throat. “Love when you just let me take you like this, sweetheart,” he breathed into your ear. “So damn tight and all mine.”

Frank had you fluttering around him in what felt like no time at all. His filthy words combined with his expert motions brought you to the brink without fail, a skill in which he took the greatest pride. Each purposeful stroke had you arching your back beneath him, head empty apart from thoughts of how good he felt in and around you, completely oblivious to the knowledge of the party continuing mere feet away from where you laid.

Supporting his weight on his forearm, he used his other hand to guide your breast to his mouth, nibbling and licking at your soft flesh, then catching your nipple lightly between his teeth before sucking on the hardened nub. This was another trick he employed when time was of the essence, which was often, given your living situation. You certainly had no complaints when his stubble scratched against your skin as he pulled away to blow cool air over the wetness he left behind, causing you to clench. He chuckled when you bucked your hips to meet his, pleased with how worked up he’d gotten you through such a simple act.

“Frank, shit, I’m close. P- please, baby, please.” You were reduced to a babbling, whimpering mess as your husband continued fucking into you. He throbbed inside you and his pace faltered, both signs that he was reaching his peak as quickly as you were.

“God, sweetheart, you’re so beautiful like this, but the thought of you all round and glowy because of me? Makes me wanna keep you full all day, every day.” You couldn’t form a complete sentence, so your response was delivered in the form of scratches down his muscular back - souvenirs you were happy to leave behind once Frank told you he loved being marked by you.

On instinct, you wrapped your legs around his waist, your heels pressing into his toned ass, making it so his thrusts were shorter, but deeper. As you tightened around him, he let out a moan so feral, you were granted a moment of clarity and wanted to send him over the edge.

“Come on, Frankie, please give it to me,” you murmured in his ear. “Gonna let me make you a daddy?” You gripped him tight, holding him impossibly close to you as you mouthed at his throat.

Frank pounded into you with abandon, slamming the headboard into the wall again and again until you let out a broken whine, finally creaming around him. He damn near roared as he came, biting down on your shoulder and filling you to the brim. He chained kisses up your neck and across your jaw before reaching your lips, loving you sweet and slow in contrast to what you’d just shared.

He sagged against you for a moment as you both attempted to steady your breathing. “I love you so damn much, baby. Thank you for giving me everything.”

You smiled while you lazily ran your fingers through his hair. “I love you more, Frankie… We’d better get cleaned up before someone comes looking for us.”

He groaned and reluctantly pulled out of you, his cock twitching as he watched your combined release spilling from your swollen folds. He walked to the en suite bathroom, returning with a damp cloth to wipe up your thighs, avoiding your messy center.

He didn’t give you a chance to reprimand him, pulling your panties back into place and chuckling at your face, twisted in mild discomfort. He ghosted his fingers over the wet spot developing on the fabric.“Nuh-uh, baby. Gotta keep you filled with me. Make sure it takes.”

You squinted at him before your face broke into a grin. “C’mere, handsome,” you mumbled, kissing him once more before straightening yourselves up and returning to the party, astounded that you managed to restore your pre-sexcapades appearance.

As the two of you joined family and friends at the table for dessert, Evelyn took notice that Frank only had one slice of pie and two cookies on his plate. Anyone who paid attention to Frank for more than two minutes knew he wasn’t a big sweets guy, preferring chips and dips to cakes and puddings.

“Is something wrong, Francis? Is there nothing you like?”

He smiled warmly as he squeezed your thigh under the table. “Oh, everything’s great,” he simpered, mocking her fake concern. He slid his hand up your thigh, slipping his fingers past the hem of your skirt. “I think I just overdid it on the stuffing.”

#frank adler x reader #frank adler x you #frank adler x fem!reader #frank adler fic #happyhoelidays2021 #frank adler smut #frank adler #maggie's writing

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thecomicsnexus · 4 years

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TOP 10 INK AND COLOR ARTISTS OF 2019′S REVIEWS

This year I felt the need to also do this list. Why? Well, when I was going through the most prominent artists with a 10 score, I noticed that some names were in almost all of them, but they weren’t the main artists. These artists are mostly inkers and colorists, and they are industry professionals, that usually worked for the publisher directly. This is the main reason they were involved in most of the art teams. Some of these were working for hire though. But you will also notice that unlike the writers and pencillers lists, this one is a lot more diverse.

NUMBER TEN JOHN HIGGINS (1949 - PRESENT)

John Higgins (born 1949) is an English comic book artist and writer. He did significant work for 2000 AD, and he has frequently worked with writer Alan Moore, most notably as colorist for Watchmen.

John Higgins was born in Walton, Liverpool. After leaving school when he was 15, he joined the army and, on leaving, spent some time in a commune in Wiltshire. He returned to Liverpool and, in 1971, resumed his studies at Wallasey College of Art. There, in 1974 he qualified in technical illustration, which allowed him to get a job as a medical illustrator at The Royal Marsden NHS Foundation Trust.

After getting his first comic book art published in Brainstorm in 1975, he drew the cover for 2000 AD No. 43 in 1977 and decided to go freelance in 1978, with an eye on becoming a comic artist. In 1981 he started getting regular work at 2000 AD, one of his early projects being the art for a Tharg's Future Shocks by Alan Moore, as well as doing covers for Marvel UK.

After this he worked steadily at 2000 AD and joined the British Invasion in the mid-eighties—notably doing the colouring on Moore's Watchmen and Batman: The Killing Joke, a job he got through colouring Steve Dillon's art on Moore's ABC Warriors story. This led to more work in the American market, although he has kept working on British titles too especially with Judge Dredd over 20 years.

He provided the art for Greysuit with Pat Mills, as well as working with Justin Gray and Jimmy Palmiotti on The Hills Have Eyes: The Beginning and Jonah Hex No. 28.

Higgins is also a writer. He wrote and drew his first Future Shock at 2000 AD and did the same for Razorjack, a comic book mini-series from Com.x, which was reprinted in 2009.

Higgins has worked in a number of different areas providing artwork for animation, film and book covers like The Cabinet of Light and The Morgaine Stories. In 2012, Higgins worked on the Before Watchmen project, drawing the serialised feature "Curse of the Crimson Corsair" which was initially written by Len Wein. Higgins later became the writer of the feature as well.

In 2016 he provided the art for six stamps commemorating the Great Fire of London, illustrating them in the style of a comic strip.

In 2017 a collection of his artwork was exhibited at the Victoria Gallery & Museum in Liverpool, in an exhibition called Beyond Dredd & Watchmen: The Art of John Higgins.

Higgins made it into the list thanks to his work on “Batman: The Killing Joke” and “Watchmen”.

NUMBER NINE ROMEO TANGHAL (1943 - PRESENT)

Romeo Tanghal (born 1943) is a Filipino comics artist who has worked primarily as an inker. He became well known in the industry in the 1980s for his work on DC Comics' The New Teen Titans.

Romeo Tanghal was born and raised in the Philippines. A self–taught artist, he started doing comics illustrations after graduating high school. He briefly worked with various local publications before emigrating to the United States in 1976. His first published work in the U.S. was "If There Were No Batman... I Would Have to Invent Him" in Batman #284 (Feb. 1977) for DC Comics. He then drew short stories for House of Mystery, House of Secrets, and Weird War Tales. He later became the inker on such features as Super Friends, "Scalphunter" in Weird Western Tales, and "Gravedigger" in Men of War. In 1980, Tanghal became the inker of George Pérez's penciled artwork on The New Teen Titans. Tanghal drew two origin stories for DC's digest line during this time, a ten-page short story in DC Special Blue Ribbon Digest #5 (Nov.–Dec. 1980) featuring Zatara and Zatanna and the origin of the Penguin in The Best of DC #10 (March 1981). Tanghal began working for Marvel Comics as well in 1986. He inked the comics adaptations of such films as Labyrinth, Elvira, Mistress of the Dark, and Willow. Tanghal did character design and storyboards for Sunbow Entertainment from 1985 to 1987.

Tanghal received an Inkpot Award in 2013.

I usually think of Romeo when I think about the team of Wolfman and Pérez. Their work on New Teen Titans is the main reason he made it into this list.

NUMBER EIGHT LYNN VARLEY (1958 - PRESENT)

Lynn Varley is an award-winning American comic book colorist, notable for her collaborations with her then-husband, comic book writer/artist Frank Miller.

Varley grew up in Livonia, Michigan. Moving to New York City, she found work at Neal Adams' Continuity Associates. She debuted as a comic book colorist on Batman Annual # 8 (1982), written by Mike W. Barr and penciled by her then partner Trevor Von Eeden. Around the same time, she became professionally involved with Upstart Associates, a shared studio space on West 29th Street formed by Walter Simonson, Howard Chaykin, Val Mayerik, and Jim Starlin. Varley colored the first two issues of Chaykin's American Flagg! Frank Miller later became part of Upstart.

Varley provided the coloring for Miller's Ronin (1984), an experimental six-issue series from DC Comics that proved that comics in unusual formats could be commercially successful; and The Dark Knight Returns (1986), a four issue mini-series that went on to become an outstanding commercial and critical success. Miller also noted that Varley helped create the futuristic slang that Carrie Kelley and other characters use.

Subsequently, Varley colored other Miller books, including The Dark Knight Strikes Again, 300, Elektra Lives Again, Big Guy and Rusty the Boy Robot (with Geoff Darrow), as well as a number of covers for the U.S. editions of the Lone Wolf and Cub series. She also colored the backgrounds for the 300 movie (2007), produced by Miller.

Varley has only worked sporadically in the comics industry since 2005.

Varley and Miller were married from 1986 to 2005. They moved from New York City to Los Angeles in the late 1980s and moved back to New York shortly before the September 11 attacks.

Because of her collaborations with Miller, Lynn made it into this list thanks to her work on “Ronin”, “The Dark Knight Returns” and “Wolverine”.

NUMBER SEVEN GLYNIS “WEIN” OLIVER (1949 - PRESENT)

Glynis Oliver, also credited as Glynis Wein is an artist who has worked as a colorist in the comics industry. For several years, she was married to Len Wein. She returned to her maiden name in 1985. She was born in England.

She has been recognized for her work in the industry with a Shazam Award for Best Colorist in 1973.

Glynis has an extensive career in comics, but the reason she made it into this list was her work on “Uncanny X-Men”, more specifically “the Dark Pheonix Saga” and the “Wolverine” mini-series.

NUMBER SIX BRAD ANDERSON

Not to mistake with the creator of Marmaduke.

Brad Anderson is a cartoonist and comic book colourist. He began his career in 1998 working for DC Comics in 1998 on the title Batman: Legends of the Dark Knight. Ever since he has worked on countless comics for different publishers including Dark Horse Comics and Marvel Comics

Most recently, he has been working on titles like Batman Eternal, Green Lantern, Justice League and Convergence.

Little is known about Brad’s life (odd considering the popularity of the material he is part of). He made it into this list thanks to his work on the “Witching Hour” crossover and also on the Shazam Origin that run on the Justice League book.

NUMBER FIVE ANTHONY TOLLIN (1952 - PRESENT)

Anthony Tollin is a professional comic book colourist. Tollin started working for DC Comics in the early 70s as an assistant to Tatjana Wood in the coloring department. In the early 80s, he became the main colourist for DC, doing almost all of the covers of the publications of the company at the time. Tollin worked for DC until the early 90s, when he started working for other publishers.

He is in this list thanks to his work on “Vigilante”, “Ambush Bug” and “Crisis on Infinite Earths”.

NUMBER FOUR ADRIENNE ROY (1953 - 2010)

Adrienne Roy (June 28, 1953 – December 14, 2010) was a comic book color artist who worked mostly for DC Comics. She was largely responsible for coloring the Batman line (Batman and Detective Comics) throughout the 1980s and early 1990s.

Roy attended an art school in Wayne, New Jersey, where she studied painting techniques. Her first contact with comics was through collecting Marvel Comics' Tomb of Dracula, The Sub-Mariner and Conan the Barbarian. Roy's first work as a comics colorist was assisting her husband Anthony Tollin, who worked for DC Comics at the times. But it was long-time colorist Jack Adler who would give her the first job at DC: the cover of DC Special Series #8 (featuring the Batman, Deadman and Sgt. Rock team-up). Adler and Sol Harrison (who was also a colorist) were considered by Roy herself as her mentors and both trained her on coloring during her first years at DC.

Roy was also responsible for the coloring on many other titles during that time period: The New Teen Titans, The Warlord, Weird War Tales and Madame Xanadu. Nevertheless, she is predominantly known for her work on the Batman books: Batman, Detective Comics, Batman: Shadow of the Bat, Batman: Gotham Knights, and Robin.

When computerized colors arrived to comics, the assignments to classic colorists decreased a lot. By 2000 Roy was largely out of work, despite training herself on the computer. Roy spent her last days battling cancer and died in Austin, Texas, at age 57 on December 14, 2010.

Adrienne Roy illustrated most of the comics of my childhood, and her “fuchsia” skies are pretty much her trademark on many Batman comics. She made it into this list thanks to her work on “New Teen Titans”, “Batman and the Outsiders”, Tales of the Teen Titans”, “The Judas Contract”, “Batman” and “Detective Comics”.

NUMBER THREE TERRY AUSTIN (1952 - PRESENT)

Terry Kevin Austin (born August 23, 1952) is an American comics artist, working primarily as an inker. He is best known for his work embellishing John Byrne's pencils on Uncanny X-Men from 1977 to 1981.

Austin grew up in Detroit, Michigan, and attended Wayne State University. He started inking comics as an assistant to Dick Giordano and Neal Adams, doing "Crusty Bunker" work for Adams' Continuity Associates. Austin came to prominence in 1976–1977, inking Marshall Rogers' pencils on a celebrated run of Batman stories for DC Comics' Detective Comics collaborating with writer Steve Englehart. During this same period, Austin inked Michael Netzer (Nasser) on DC's Martian Manhunter in Adventure Comics and Green Arrow/Black Canary in World's Finest Comics, as well as Al Milgrom on Marvel Comics' Captain Marvel. He later teamed with Rogers again on Marvel's Doctor Strange.

In 1977, Austin and penciler John Byrne became the new art team on Uncanny X-Men. With writer Chris Claremont they produced a series of stories — particularly "The Dark Phoenix Saga" — which elevated the title into the top-selling American comic book.

Austin resides near Poughkeepsie, New York, where he plays volleyball and gets together often with fellow comics veteran Fred Hembeck.

Terry is a very popular inker that has almost no presence online (only through Fred Hembeck). He made it into this list mostly for his work on “Camelot 3000″ and “Uncanny X-Men”, most specifically, “The Dark Phoenix” saga.

NUMBER TWO DICK GIORDANO (1932 - 2010)

Richard Joseph "Dick" Giordano (July 20, 1932 – March 27, 2010) was an American comics artist and editor whose career included introducing Charlton Comics' "Action Heroes" stable of superheroes and serving as executive editor of DC Comics.

Dick Giordano, an only child, was born in New York City on July 20, 1932, in the borough of Manhattan to Josephine Labruzzi and Graziano "Jack" Giordano. He attended the School of Industrial Art.

Beginning as a freelance artist at Charlton Comics in 1952, Giordano contributed artwork to dozens of the company's comics, including such Western titles as Annie Oakley, Billy the Kid, and Wyatt Earp, the war comic Fightin' Army, and scores of covers.

Giordano's artwork from Charlton's Strange Suspense Stories was used as inspiration for artist Roy Lichtenstein's 1965/1966 Brushstroke series, including Brushstroke, Big Painting No. 6, Little Big Painting and Yellow and Green Brushstrokes.

By the mid-1960s a Charlton veteran, Giordano rose to executive editor, succeeding Pat Masulli, by 1965. As an editor, he made his first mark in the industry, overseeing Charlton's revamping of its few existing superheroes and having his artists and writers create new such characters for what he called the company's "Action Hero" line. Many of these artists included new talent Giordano brought on board, including Jim Aparo, Dennis O'Neil, and Steve Skeates.

DC Comics vice president Irwin Donenfeld hired Giordano as an editor in April 1968, at the suggestion of Steve Ditko, with Giordano bringing over to DC some of the creators he had nurtured at Charlton. Giordano was given several titles such as Teen Titans, Aquaman and Young Love, but none of DC's major series. He launched the horror comics series The Witching Hour in March 1969, and the Western series All-Star Western vol. 2 in September 1970.

He continued to freelance for DC as a penciler and inker. As an artist, Giordano was best known as an inker. His inking was particularly associated with the pencils of Neal Adams, for their run in the early 1970s on the titles Batman and Green Lantern/Green Arrow. Comics historian Les Daniels observed that "The influential Adams style moved comics closer to illustration than cartooning, and he brought a menacing mood to Batman's adventures that was augmented by Dick Giordano's dark, brooding inks."

By 1971, frustrated by what he felt was a lack of editorial opportunities, Giordano had left DC to partner with fellow artist Neal Adams for their Continuity Associates studios, which served as an art packager for comic book publishers, including such companies as Giordano's former employer Charlton Comics, Marvel Comics, and the one-shot Big Apple Comix. Several comics artists began their careers at Continuity and many were mentored by Giordano during their time there.

He had a brief run as penciler of the Wonder Woman series which included a two-issue story in issues #202–203 (October and December 1972) written by science-fiction author Samuel R. Delany. Giordano drew several backup stories in Action Comics featuring the Human Target character as well as the martial arts feature "Sons of the Tiger" in Marvel's black-and-white comics magazine The Deadly Hands of Kung Fu. He was a frequent artist on Batman and Detective Comics and he and writer Denny O'Neil created the Batman supporting character Leslie Thompkins in the story "There Is No Hope in Crime Alley" in Detective Comics #457 (March 1976). Giordano inked the large-format, first DC/Marvel intercompany crossover, Superman vs. the Amazing Spider-Man (1976), over the pencils of Ross Andru. Giordano inked Adams on the one-shot Superman vs. Muhammad Ali in 1978. Throughout the late 1970s and the early 1980s, Ross Andru and Giordano were DC's primary cover artists, providing cover artwork for the Superman titles as well as covers for many of the other comics in the DC line at that time.

In 1980, DC publisher Jenette Kahn brought Giordano back to DC. Initially the editor of the Batman titles, Giordano was named the company's new managing editor in 1981, and promoted to vice president/executive editor in 1983, a position he held until 1993. DC Comics writer and executive Paul Levitz observed in 2010 that "Giordano held the respect of talent as one of their own, and kept their affection with his reassuring calm and warmth."

Giordano provided art for several anniversary issues of key DC titles. He and television writer Alan Brennert crafted the story "To Kill a Legend" in Detective Comics #500 (March 1981). Giordano was one of the artists on the double-sized Justice League of America #200 (March 1982) as well as Wonder Woman #300 (Feb. 1983) He was promoted to Vice-President/Executive Editor in 1984, and with Kahn and Levitz, oversaw the relaunch of all of DC's major characters with the Crisis on Infinite Earths limited series in 1985. This was followed by Frank Miller's Batman: The Dark Knight Returns and Alan Moore and Dave Gibbons' Watchmen in 1986. Giordano inked several major projects during this time such as George Pérez's pencils on Crisis on Infinite Earths and John Byrne's pencils on The Man of Steel and Action Comics, though during this period he always employed assistants for inking backgrounds, filling in large black areas, and making final erasures.

From 1983 to 1987, Giordano wrote a monthly column published in DC titles called "Meanwhile..." which much like Marvel's "Bullpen Bulletins" featured news and information about the company and its creators. Unlike "Bullpen Bulletins," which was characterized by an ironic, over-hyped tone, Giordano's columns ". . . were written in a relatively sober, absolutely friendly voice, like a friend of your father's you particularly liked and didn't mind sitting down to listen to." Giordano closed each "Meanwhile..." column with the characteristic words, "Thank you and good afternoon."

The Vertigo imprint was launched in early 1993 built upon the success several titles edited by Karen Berger including Swamp Thing, Hellblazer, Sandman, Doom Patrol, Animal Man, and Shade, the Changing Man. Giordano inked six issues of The Sandman in 1991-1993.

Beginning in 1987, Giordano was in the middle of an industry-wide debate about the comics industry, ratings systems, and creators' rights. Veteran writers Mike Friedrich, Steven Grant, and Roger Slifer all cited Giordano in particular for his hard-line stance on behalf of DC. This debate led in part to the 1988 drafting of the Creator's Bill of Rights.

Giordano left DC in 1993, and still did the occasional inking job, but later returned to freelancing full-time. In 1994 Giordano illustrated a graphic novel adaptation of the novel Modesty Blaise released by DC Comics, with creator/writer Peter O'Donnell. He was one of the many artists who contributed to the Superman: The Wedding Album one-shot in 1996 wherein the title character married Lois Lane.

In 2002, Giordano launched the short-lived Future Comics with writer David Michelinie and artist Bob Layton. Since 2002, Giordano had drawn several issues of The Phantom published in Europe and Australia. In 2004, Giordano and writer Roy Thomas completed an adaptation of Bram Stoker's Dracula novel. They had begun the project in 1974 but the cancellation of many of Marvel's black and white magazines put it into limbo. The finished story was collected into a hardcover edition in 2005 and a colorized hardcover edition in 2010. In 2005, F+W Publications Inc. published the instructional art book Drawing Comics with Dick Giordano, which he wrote and illustrated. His last mainstream work appeared in Jonah Hex vol. 2, #51 (March 2010) for which he drew the interior art and the cover. His last comics work was pencilling and editing Baron Five, published by Hound Comics.

Giordano married the former Marie Trapani, sister of fellow comics artist Sal Trapani, on April 17, 1955. She died from complications of her second stomach cancer surgery in February 1993. They had three children together; Lisa, Dawn, and Richard Jr. Marie's death, combined with Giordano's increasing hearing loss, hastened his decision to retire from DC. Following the death of his wife, Giordano split time between homes in Florida and Connecticut. In 1995, he moved to Palm Coast, Florida, where he continued to work full-time freelancing, until his death. Giordano had suffered from lymphoma and later from leukemia, secondary to the chemotherapy. He died on March 27, 2010 due to complications of pneumonia.

Giordano served as mentor or inspiration to a generation of inkers, including Terry Austin, Mike DeCarlo, and Bob Layton.

Shortly after Giordano's death in 2010, The Hero Initiative created "The Dick Giordano Humanitarian of the Year Award", which debuted at the 2010 Harvey Awards ceremony held at the Baltimore Comic-Con. The award recognizes one person in comics each year who demonstrates particular generosity and integrity in support of the overall comic book community.

Giordano received recognition in the industry for his work, including the Alley Award for Best Editor in 1969. He won the Shazam Award for Best Inker (Dramatic Division) in 1970 (for Green Lantern), 1971, 1973 (for Justice League of America), and 1974. He won the 1971 Goethe Award for "Favorite Pro Editor." Giordano received an Inkpot Award in 1981. In 2009 he was awarded the Inkwell Awards Joe Sinnott Hall of Fame Award.

My favorite anecdote of Dick Giordano, is from Karen Berger (from the book “The British Invasion: Alan Moore, Neil Gaiman and Grant Morrison”) about Grant Morrison’s thick Glaswegian accent.

“When I first met Grant, I was with Dick Giordano and Jenette Khan. I had set up appointments pretty much every hour with different writers and artists in this suite that we had rented to meet people, and Grant was the last person we saw on one of the days. And Dick Giordano was very hard of hearing... he wore two hearing aids and when Grant came in, Grant started talking and [Giordano] just took off his hearing aids and left the room. He couldn’t even read his lips.”

Dick Giordano is a legend, but he is in this list because of his work on “Camelot 3000″, “Tales of the Teen Titans”, “Vigilante” and “Crisis on Infinite Earths”.

NUMBER ONE TATJANA WOOD (1926 - PRESENT)

Tatjana Wood (née Tatjana Weintraub, in Darmstadt, Germany) is an American artist and comic book colorist.

Tatjana's father was Jewish, and her mother was Christian. During World War II, she and her brother, Karl Joachim Weintraub, were sent to an international Quaker boarding school in the Netherlands. Gaining Dutch citizenship was not easy, so after World War II, the Quakers arranged for the two to travel to New York City in 1947. Karl went on to the University of Chicago, while Tatjana stayed in New York, attending the Traphagen School of Fashion. In 1949, she met Wally Wood, and they married August 28, 1950.

During the 1950s and 1960s, she sometimes made uncredited contributions to Wood's artwork. One of the stories she worked on was "Carl Akeley" in EC Comics' Two-Fisted Tales #41 (February–March 1955). She did a number of animal drawings for that story.

Later, beginning in 1969, she did extensive work for DC Comics as a comic book colorist. She was the main colorist for DC's covers from 1973 through the mid-1980s. Wood did coloring work on the interiors of comics as well, including Grant Morrison's acclaimed run on Animal Man, Alan Moore's issues of Swamp Thing, and Camelot 3000. She won the Shazam Award for Best Colorist in 1971 and 1974. Tatjana has had no significant credits in the comics industry since 2003.

She is also a skilled dressmaker and weaver, who has crafted theatrical costumes and pictorial loom tapestries.

Tatjana's brother Karl died March 25, 2004. He was a distinguished scholar at the University of Chicago and the author of two books, Visions of Culture: Voltaire-Guizot-Burckhardt-Lamprecht-Huizinga-Ortega y Gassett (1966) and The Value of the Individual: Self and Circumstance in Autobiography (1978).

Tatjana Wood has been mostly uncredited for most of her career. It is only thanks to interviews and reprints that we know of her work on many essential books, like the original Swamp Thing volume.

She made it into this list because of her work on “Swamp Thing” and “Camelot 3000″.

There were more artists that didn’t make it to the top 10, but were considered: Bob Oksner, Bruce D. Patterson, Tom Ziuko, Tom McCraw, Alfredo Alcala, Mike DeCarlo, Joe Rubinstein, Klaus Janson, Malcolm Jones III, Norm Breyfogle (for both lists) and Steve Oliff.

Being an inker or a colorist in comics can be an ungrateful job. But they mean a lot to certain artists. It is not the same to be inked by Romeo Tanghal or by Mike Royer. And because most of these artists had permanent contracts with their publishers, they ended up growing up in the industry. To all of them, thanks for the comics!

#2019 #artists #inker #colorist #comics #review #tatjana wood #dick giordano #terry austin #adrienne roy #anthony tollin #brad anderson #glynis wein #glynis oliver #lynn varley #romeo tanghal #john higgins

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