Lost In Space #01-#18 (1991 – 1994) Innovation (Complete Serie)

1991 Series

Publisher: Innovation

Publication Dates: August 1991 – 1993

Number of Issues Published: 12 (#01 – #12)

Color: color

Dimensions: standard Modern Age US

Binding: saddle-stitched

Publishing Format: Was Ongoing

Publication Type: magazine

Pages 36    Indicia Frequency ?

Continues with Lost in Space: Voyage to the Bottom of the Soul (Innovation, 1993 series) #13

Authors: 

Script: David Campiti, Bill Mumy

Pencils: Mike Okamoto (painting), Jason Palmer (painted)

Eddy Newell; Mark Jones (illustrators), Michal Dutkiewicz (painted)

Inks: Mike Okamoto (painting), Jason Palmer (painted), Shane Glines, 

Eddy Newell; Mark Jones (illustrators), Michal Dutkiewicz (painted)

Colors: Mike Okamoto (painting), Jason Palmer (painted)

Michal Dutkiewicz, Mike Deodato Jr. (signed), 

Matt Thompson (signed), Scott Rockwell

Letters:  Vickie Williams, 

Editing: David Campiti; George Broderick Jr

   Lost in Space: Voyage to the Bottom of the Soul

1993 Series

Publisher: Innovation

Publication Dates: 1993 – 1994

Number of Issues Published: 6 (#13 – #18)

Color: Color

Dimensions: standard Modern Age US

Binding: saddle-stitched

Publishing Format: Was Ongoing

Publication Type: magazine

Pages 36    Indicia Frequency ?

Authors: 

Script:  Bill Mumy

Pencils: Michal Dutkiewicz, Mike Deodato Jr. (signed),  Matt Thompson (signed)

Inks: Matt Thompson (signed)

Colors: Michal Dutkiewicz, Mike Deodato Jr. (signed), 

Matt Thompson (signed)

Letters

Vickie Williams, George Broderick; David Campiti

Numbering continues from Lost in Space (Innovation, 1991 series) #12

Lost in Space was a comic book published by Innovation Comics, based upon the television series Lost in Space. It utilized the settings and characters from the series, but was set years after the end of the series, and featured older characters coming to terms with being cut off 

from Earth for so many years.

In the 1980s, Bill Mumy (who played Will Robinson on the series) had tried, and failed, to convince Irwin Allen to allow production of a Lost in Space film for theatres or TV. In 1991, a fledgling publisher called Innovation Comics began to produce an ambitious, high-quality Lost in Space comic, which was authorized and licensed. It was scripted by Mumy himself, and his intention was to reflect the more serious tone of the first season episodes, but this was somewhat undercut by artwork that sexualized the characters of Judy and Penny Robinson, prompting some exasperated notes from Mumy in the editorial pages.

The comic also established a romantic triangle between Judy, Penny (now depicted as someone in her late teens), and Don that was not present in the original series.

One storyline in this comic book retcons the “serious episodes”—which some critics claim ended about a third of the way through the first season—as excerpts from Prof. Robinson’s log, while the more humorous episodes were taken from Penny’s diary. Also suggested is the idea that Dr. Smith is working with some of the aliens encountered in the early episodes, rather than with any terrestrial source, as evidenced by his efforts to make radio contact with some third party after the Jupiter II has left Earth.)

Lost in Space was Innovation’s best selling property, outselling all their other comics combined. The comic only managed to run for 18 issues, 2 annuals and 1 of 2 issues of a miniseries however, but not because of poor sales. Innovation’s ambitious projects couldn’t keep ahead of their bottom line, and the company went out of business.

While this left a major story arc unresolved, a trade paperback entitled

 “Voyage to the Bottom of the Soul” was later published, completing the story.

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Link: Lost In Space #01-#18⇲⇲

E-Man #01 - #10 (1973-1975) Complete Series [Charlton Comics Collection]

Publisher:
  Charlton Comics (1973–1975), First Comics (1983–1986),
Comico (1989–1990), Alpha Productions (1993–1994), Digital Webbing (2006–2008)

First appearance E-Man #1 (1973)

Medium: Comic books

Originally published by: Charlton Comics

First Appeared: 1973

Creators: Nicola Cuti (writer) and Joe Staton (artist)

E-Man is a comic-book character, a superhero created by writer Nicola Cuti and artist Joe Staton for the American company Charlton Comics in 1973.
Though the character's original series was short-lived, the lightly humorous hero has become a cult-classic sporadically revived by various independent comics publishers. Ownership of the character has changed hands over the years, moving from the original publisher to the character's creators.ublication history

After editor Dick Giordano left the Derby, Connecticut-based Charlton Comics, in 1968,¡ the publisher ended its superhero line. A later editor, George Wildman, persuaded the publisher to try superheroes again, leading writer Nicola Cuti and artist Joe Staton to devise E-Man.

Cuti said in the 2000s that his inspirations included the Golden Age of Comics superhero Plastic Man, and that he wanted to create a similarly fun and whimsical character. Cuti also admired Albert Einstein and his formula, E=mc2. He conceived a character who was caught in a factory explosion and became an energy being that could take any form of matter. When he shared this idea with artist Joe Staton, Staton felt the origin was too similar to that of Charlton's Captain Atom and the atomic-accident origins that had often been used by Marvel Comics writer-editor Stan Lee. Inspired by the works of Arthur C. Clarke, Cuti created a new origin that made E-Man a packet of sentient energy created as a star went nova.

Cuti asked Staton to design the costume, only requiring that the character not wear a cape and that the formula E=mc2 be his chest emblem. Staton based E-Man's face on that of actor Roger Moore, making him appear heroic but somewhat generic.[6] When Staton delivered his design to Cuti, Cuti colored it with yellows and oranges to differentiate it from the reds and blues so frequently in other superhero costumes.

E-Man took a light whimsical tone to differentiate itself from super hero comics at Marvel and DC. Cuti enjoyed scripting wisecracking banter between E-Man and his girlfriend, Nova Kane, inspired by movies like The Thin Man and Mr. and Mrs. North. However, he did not intend to spoof superhero comics. He wanted to present serious situations that the characters could make light of.[3] Inspired by the work of Wally Wood in MAD magazine, Staton would insert sight gags into each issue.

Cuti promoted E-Man in advance of the first issue by sending letters to assorted fanzines, such as Rocket's Blast ComiCollector[8] and The Comic Reader,[9] with a photostat illustration of the titular hero. The letter announced Charlton's re-entrance into the superhero genre and promised that one-third of each issue would feature a new superhero,[8][9] an idea suggested by Wildman to try out new superhero properties.[10]

Charlton Comics

Cover #01

E-Man first appeared in E-Man #1, cover-dated October 1973, on a bi-monthly publishing schedule. The series ran for 10 issues until cover date September 1975.[12] Cuti suggested the title "E-Mail,"[13] for the series' letter column, a term not yet in prolific use.[5] The last four issues, along with other Charlton titles, featured painted covers after Charlton began working with a Texas company that could do painted color separations cheaper than Charlton could do hand separations.

Due to a nationwide paper shortage caused by a Canadian paper mill strike,[15] six months passed between issues #2 and #3. This gave Cuti and Staton time to push other material back and produce a story titled, "The Energy Crisis,"[16] a social commentary on the 1973 oil crisis. This gap in publication also gave Staton the opportunity to refine the title's art style, making it darker and conveying more mood

E-Man was Charlton's lowest selling title on newsstands, but was the company's best selling subscription. When Wildman told Cuti that the title was to be cancelled after issue #10, he explained that the publisher only allowed it to continue publication to that point out of loyalty to Cuti.[2][3][7] CPL Gang publisher Bob Layton agreed to publish E-Man stories in the fanzine Charlton Bullseye,[17] but only a single story saw print, "...And Why the Sea Is Boiling Hot" in issue #4 of that title.

Steve Ditko's "Killjoy", a two-issue backup feature

Each issue of E-Man featured a backup story, with the single exception of issue #8.

    "The Knight", by Cuti and artist Tom Sutton appeared in the first issue, starring a superspy agent of C.H.E.S.S.[19]

    "The Dragon Killer", by writer Joe Gill and artist Wayne Howard, appeared in issue #3, which featured Travis, a time travelling youngster.[20]

    "Killjoy", written and illustrated by Steve Ditko, appeared in issues #2 and #4, expressing a similar tone and philosophy as another Ditko creation, Mr. A.[21] The stories featured a silent but frenetic hero battling criminals who protested that Killjoy's constant interruption of their crimes was a violation of their rights.

    "Liberty Belle", by artist Joe Gill and artist Steve Ditko, was featured in issue #5.[24] The character was to be the company's "women's libber."[25] Artists Mike Vosburg and Dan Adkins worked on the character's development, but were replaced by Ditko.

    "Rog-2000" was featured in issues #6,[26] #7,[27] #9[28] and #10,[29] written by Cuti with artist John Byrne making his professional comics debut.[10] Rog-2000 was the most popular of the back-up features[3] and Byrne had several ideas to expand the character into its own title.[30] Staton and Byrne formed a friendly rivalry during the feature's run, with each of them inserting jabs at each other in sight gags inserted into the art.

A supporting character, the grubby but right-hearted detective Michael Mauser, got his own backup series in Charlton's Vengeance Squad. In 1977, six issues were reprinted under the Modern Comics label for sale as bagged sets in discount department stores such as North America.

Continue on Wikipedia, here

Cover #10

E-Man

Charlton, 1973 Series

Published in English (United States) United States

Publication Dates: October 1973 - September 1975

Number of Issues Published: (#1 - #10)

Color:  Color

Dimensions:  Standard Modern Age US

Paper Stock:  Glossy Cover; Newsprint Interior

Binding:  Saddle-stitched

Publishing Format:  Was ongoing

Publication Type:  magazine

Pages: 36    Indicia Frequency:bi-monthly

Authors:

Script:

Nicola Cuti, Steve Ditko

Pencils and Inks:

Joe Staton, Steve Ditko, John Byrne, 

Colors:

Wendy Fiore ?

Letters:

Joe Staton (letters and logo design), 

Charlotte Jetter, John Byrne,

E-Man #01 - #10⇲⇲