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</style><table class="sidebar nomobile nowraplinks hlist"><caption class="sidebar-outer-title">Glossary of comics terminology</caption><tbody><tr><th class="sidebar-title" style="background:antiquewhite;"><a href="Comics" title="Comics">Comics</a></th></tr><tr><td class="sidebar-image"><span typeof="mw:File"></span><div class="sidebar-caption"><a href="Speech_balloon" title="Speech balloon">Speech balloon</a></div></td></tr><tr><th class="sidebar-heading" style="background:antiquewhite;">
<a href="Comics_studies" title="Comics studies">Comics studies</a></th></tr><tr><td class="sidebar-content">
<ul><li><a href="Comics_in_education" title="Comics in education">Education</a></li>
<li><a href="Glossary_of_comics_terminology" title="Glossary of comics terminology">Glossary</a></li>
<li><a href="History_of_comics" title="History of comics">History</a></li></ul></td>
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Methods</th></tr><tr><td class="sidebar-content">
<ul><li><a href="Cartoon" title="Cartoon">Cartooning</a></li>
<li><a href="Photo_comics" title="Photo comics">Photo comics</a></li></ul></td>
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Media formats</th></tr><tr><td class="sidebar-content">
<ul><li><a href="Comic_book" title="Comic book">Comic book</a></li>
<li><a href="Comic_strip" title="Comic strip">Comic strip</a></li>
<li><a href="Digital_comic" title="Digital comic">Digital comic</a></li>
<li><a href="Gag_cartoon" title="Gag cartoon">Gag cartoon</a></li>
<li><a href="Trade_paperback_(comics)" title="Trade paperback (comics)">Trade paperback</a></li>
<li><a href="Graphic_novel" title="Graphic novel">Graphic novel</a></li>
<li><a href="Light_novel" title="Light novel">Light novel</a></li>
<li><a href="Political_cartoon" title="Political cartoon">Political cartoon</a></li>
<li><a href="Webcomic" title="Webcomic">Webcomic</a></li>
<li><a href="Webtoon" title="Webtoon">Webtoon</a></li></ul></td>
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<a href="List_of_comics_by_country" title="List of comics by country">Comics by country and culture</a></th></tr><tr><td class="sidebar-content">
<ul><li><a href="American_comic_book" title="American comic book">American comics</a></li>
<li><a href="Argentine_comics" title="Argentine comics">Argentine comics</a></li>
<li><i><a href="Bande_dessin%C3%A9e" title="Bande dessinée">Bande dessinées</a></i> <small>(<a href="Belgian_comics" title="Belgian comics">Belgium</a>/<a href="French_comics" class="mw-redirect" title="French comics">France</a>/<a href="Quebec_comics" title="Quebec comics">Quebec</a>)</small></li>
<li><a href="Comics_in_Australia" title="Comics in Australia">Australian comics</a></li>
<li><a href="Brazilian_comics" title="Brazilian comics">Brazilian comics</a></li>
<li><a href="British_comics" title="British comics">British comics</a> <small>(<a href="Welsh-language_comics" title="Welsh-language comics">Welsh-language</a>)</small></li>
<li><a href="Canadian_comics" title="Canadian comics">Canadian comics</a></li>
<li><a href="Croatian_comics" title="Croatian comics">Croatian comics</a></li>
<li><a href="Czech_comics" title="Czech comics">Czech comics</a></li>
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<li><a href="European_comics" title="European comics">European comics</a></li>
<li><a href="German_comics" title="German comics">German comics</a></li>
<li><a href="Hungarian_comics" title="Hungarian comics">Hungarian comics</a></li>
<li><a href="Indian_comics" title="Indian comics">Indian comics</a></li>
<li><a href="Irish_comics" title="Irish comics">Irish comics</a></li>
<li><a href="Italian_comics" title="Italian comics">Italian comics</a></li>
<li><a href="Malaysian_comics" title="Malaysian comics">Malaysian comics</a></li>
<li><a href="Manga" title="Manga">Manga</a></li>
<li><a href="Manhua" title="Manhua">Manhua</a> <small>(<a href="Hong_Kong_comics" title="Hong Kong comics">Hong Kong</a>)</small></li>
<li><a href="Manhwa" title="Manhwa">Manhwa</a></li>
<li><a href="Comics_in_Mexico" title="Comics in Mexico">Mexican comics</a></li>
<li><a href="Pakistani_comics" title="Pakistani comics">Pakistani comics</a></li>
<li><a href="Philippine_comics" title="Philippine comics">Philippine comics</a></li>
<li><a href="Polish_comics" title="Polish comics">Polish comics</a></li>
<li><a href="Portuguese_comics" title="Portuguese comics">Portuguese comics</a></li>
<li><a href="Serbian_comics" title="Serbian comics">Serbian comics</a></li>
<li><a href="South_African_comics" title="South African comics">South African comics</a></li>
<li><a href="Spanish_comics" title="Spanish comics">Spanish comics</a></li>
<li><a href="Thai_comics" title="Thai comics">Thai comics</a></li>
<li><a href="Turkish_comics" title="Turkish comics">Turkish comics</a></li>
<li><a href="Vietnamese_comics" title="Vietnamese comics">Vietnamese comics</a></li></ul></td>
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Community</th></tr><tr><td class="sidebar-content">
<ul><li><a href="List_of_comics_awards" title="List of comics awards">Awards</a></li>
<li><a href="Cartoonist" title="Cartoonist">Cartoonists</a></li>
<li><a href="Comic_book_collecting" title="Comic book collecting">Collecting</a></li>
<li><a href="List_of_comics_publishing_companies" title="List of comics publishing companies">Publishers</a></li>
<li><a href="List_of_best-selling_comic_series" title="List of best-selling comic series">Sales</a></li>
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<p>A <b>script</b> is a document describing the narrative and dialogue of a <a href="Comic_book" title="Comic book">comic book</a> in detail. It is the comic book equivalent of a <a href="Television" title="Television">television program</a> <a href="Teleplay" title="Teleplay">teleplay</a> or a <a href="Film" title="Film">film</a> <a href="Screenplay" title="Screenplay">screenplay</a>.
</p><p>In comics, a script may be preceded by a plot outline, and is almost always followed by page sketches drawn by a <a href="Comics_artist" class="mw-redirect" title="Comics artist">comics artist</a> and <a href="Inker" title="Inker">inked</a>, succeeded by the <a href="Colorist" title="Colorist">coloring</a> and <a href="Letterer" title="Letterer">lettering</a> stages. There are no prescribed forms of comic scripts, but there are two dominant styles in the mainstream <a href="Comics_industry" class="mw-redirect" title="Comics industry">comics industry</a>, the <i>full script</i> (commonly known as "<a href="DC_Comics" title="DC Comics">DC</a> style") and the <i><a href="Plot_script" class="mw-redirect" title="Plot script">plot script</a></i> (or "<a href="Marvel_house_style" class="mw-redirect" title="Marvel house style">Marvel house style</a>").<sup id="cite_ref-jones_1-0" class="reference"><a href="#cite_note-jones-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>
</p><p>The creator of a script is known as a <b>comics writer</b>.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup>
</p>
<meta property="mw:PageProp/toc">
<div class="mw-heading mw-heading2"><h2 id="Styles">Styles</h2></div>
<div class="mw-heading mw-heading3"><h3 id="Full_script">Full script</h3></div>
<p>In this style, the comics writer breaks the story down in sequence, page-by-page and panel-by-panel, describing the action, characters, and sometimes backgrounds and "camera" points-of-view of each panel, as well as all captions and dialogue balloons. For decades, this was the preferred format for books published by <a href="DC_Comics" title="DC Comics">DC Comics</a>.
</p><p><a href="Peter_David" title="Peter David">Peter David</a> described his specific application of the full script method: "I break down each page on a panel by panel basis and label them as PANEL A, PANEL B, and so on. Then I describe what's in each panel, and then do the dialogue, numbering the balloons. I designate the panels with letters and the word balloons with numbers so as to minimize confusion for the letterer".<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> In addition to writing the scripts, <a href="Jim_Shooter" title="Jim Shooter">Jim Shooter</a> drew layouts for the artist in his early work for DC.<sup id="cite_ref-shooter20110311_11-0" class="reference"><a href="#cite_note-shooter20110311-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>
</p>
<div class="mw-heading mw-heading3"><h3 id="Plot_script">Plot script</h3></div>
<p>In a <b>plot script</b> the artist works from a story synopsis from the writer (or <b>plotter</b>), rather than a full script. The artist creates page-by-page plot details on their own, after which the work is returned to the writer for the insertion of dialogue. Due to its widespread use at <a href="Marvel_Comics" title="Marvel Comics">Marvel Comics</a> beginning in the 1960s, primarily under editor-dialogist <a href="Stan_Lee" title="Stan Lee">Stan Lee</a> and writer-artists <a href="Jack_Kirby" title="Jack Kirby">Jack Kirby</a> and <a href="Steve_Ditko" title="Steve Ditko">Steve Ditko</a>, this approach became commonly known as the <b>Marvel method</b> or <b>Marvel house style</b>.<sup id="cite_ref-TCJ75_12-0" class="reference"><a href="#cite_note-TCJ75-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup>
</p><p><a href="Comics_historian" class="mw-redirect" title="Comics historian">Comics historian</a> <a href="Mark_Evanier" title="Mark Evanier">Mark Evanier</a> writes that this "new means of collaboration . . . was born of necessity—Stan was overburdened with work—and to make use of Jack's great skill with storylines. . . . Sometimes Stan would type up a written plot outline for the artist. Sometimes, not".<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> As comic-book writer-editor <a href="Dennis_O'Neil" title="Dennis O'Neil">Dennis O'Neil</a> describes, the Marvel method "requires the writer to begin by writing out a plot and add[ing] words when the penciled artwork is finished. . . .[I]n the mid-sixties, plots were seldom more than a typewritten page, and sometimes less", while writers in later times "might produce as many as twenty-five pages of plot for a twenty-two page story, and even include in them snatches of dialog. So a Marvel Method plot can run from a couple of paragraphs to something much longer and more elaborate".<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>
</p><p>The Marvel method was in place with at least one artist by early 1961, as Lee described in 2009 when speaking of his and Ditko's "short, five-page filler strips ... placed in any of our comics that had a few extra pages to fill", most prominently in <i><a href="Amazing_Fantasy" title="Amazing Fantasy">Amazing Fantasy</a></i> but even previously in <i><a href="Amazing_Adventures" title="Amazing Adventures">Amazing Adventures</a></i> and other "<a href="Atlas_Comics_(1950s)#Pre-superhero_Marvel" title="Atlas Comics (1950s)">pre-superhero Marvel</a>" <a href="Science-fiction" class="mw-redirect" title="Science-fiction">science-fiction</a>/<a href="Fantasy" title="Fantasy">fantasy</a> anthology titles.
</p>
<blockquote>
<p>I'd dream up odd fantasy tales with an <a href="O._Henry" title="O. Henry">O. Henry</a> type twist ending. All I had to do was give Steve a one-line description of the plot and he'd be off and running. He'd take those skeleton outlines I had given him and turn them into classic little works of art that ended up being far cooler than I had any right to expect.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup>
</p>
</blockquote>
<p>The October 2018 issue of DC Comics' in-house previews magazine, <i>DC Nation</i>, featured a look at the creative process that writer <a href="Brian_Michael_Bendis" title="Brian Michael Bendis">Brian Michael Bendis</a> and artists <a href="Ryan_Sook" title="Ryan Sook">Ryan Sook</a>, <a href="Wade_von_Grawbadger" class="mw-redirect" title="Wade von Grawbadger">Wade von Grawbadger</a> and Brad Anderson employed on <i><a href="Action_Comics" title="Action Comics">Action Comics</a></i> #1004, which included pages of Bendis' script that were broken down panel by panel, albeit without dialogue.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>
</p><p>Advantages of the Marvel method over the full script method that have been cited by creators and industry professionals include:
</p>
<ul><li>The fact that artists, who are employed to visualize scenes, may be better equipped to determine panel structure.<sup id="cite_ref-SecretsShadows_17-0" class="reference"><a href="#cite_note-SecretsShadows-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-SeeingRed_18-0" class="reference"><a href="#cite_note-SeeingRed-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup></li>
<li>The greater freedom this gives artists.<sup id="cite_ref-SecretsShadows_17-1" class="reference"><a href="#cite_note-SecretsShadows-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-SeeingRed_18-1" class="reference"><a href="#cite_note-SeeingRed-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup></li>
<li>The lower burden placed on the writer.<sup id="cite_ref-SecretsShadows_17-2" class="reference"><a href="#cite_note-SecretsShadows-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup></li></ul>
<p>Cited disadvantages include:
</p>
<ul><li>The fact that not all artists are talented writers, and some struggle over aspects such as plot ideas and pacing.<sup id="cite_ref-SecretsShadows_17-3" class="reference"><a href="#cite_note-SecretsShadows-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Back17_19-0" class="reference"><a href="#cite_note-Back17-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup></li>
<li>It takes advantage of artists, who are typically paid for art alone even though they are essentially working as co-writers.<sup id="cite_ref-Back17_19-1" class="reference"><a href="#cite_note-Back17-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup></li></ul>
<div class="mw-heading mw-heading4"><h4 id="Kurtzman_style">Kurtzman style</h4></div>
<p>In a variation of the plot script, attributed to <a href="Harvey_Kurtzman" title="Harvey Kurtzman">Harvey Kurtzman</a>, the writer breaks down the story into page roughs or thumbnail sketches, with captions and dialogue jotted down inside the roughs. The artist (who is often the comic's writer as well) then fleshes out the roughs onto full-size art board. Writer/artists <a href="Frank_Miller_(comics)" class="mw-redirect" title="Frank Miller (comics)">Frank Miller</a> and <a href="Jeff_Smith_(cartoonist)" title="Jeff Smith (cartoonist)">Jeff Smith</a> favor this style, as did <a href="Archie_Goodwin_(comics)" title="Archie Goodwin (comics)">Archie Goodwin</a>.<sup id="cite_ref-jones_1-1" class="reference"><a href="#cite_note-jones-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>
</p>
<div class="mw-heading mw-heading4"><h4 id="EC_style">EC style</h4></div>
<p>Attributed to <a href="William_Gaines" title="William Gaines">William Gaines</a> (Kurtzman's publisher at <a href="EC_Comics" title="EC Comics">EC Comics</a>), the EC style is similar to the Kurtzman style, except the writer submits a tight plot to an artist, who breaks it down into panels that are laid out on the art board. The writer writes all captions and dialogue, which are pasted inside these panels, and then the artist draws the story to fit all of this paste-up. This laborious and restrictive way of creating comics is no longer in general use; the last artist to use even a variation of EC style was <a href="Jim_Aparo" title="Jim Aparo">Jim Aparo</a>.<sup id="cite_ref-jones_1-2" class="reference"><a href="#cite_note-jones-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>
</p>
<div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2></div>
<ul><li><a href="Glossary_of_comics_terminology" title="Glossary of comics terminology">Glossary of comics terminology</a></li>
<li><a href="Script_breakdown" title="Script breakdown">Script breakdown</a></li>
<li><a href="Screenwriting" title="Screenwriting">Screenwriting</a></li>
<li><a href="Storyboard" title="Storyboard">Storyboard</a></li></ul>
<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>
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<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Also <b>comics scripter</b>, <b>comics author</b>,<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> <b>comic book author</b>,<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> <b>comics scribe</b>,<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> <b>graphic novel writer</b>,<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> <b>graphic novel author</b><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> or <b>graphic novelist</b><sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup></span>
</li>
</ol></div></div>
<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>
<div class="reflist reflist-columns references-column-width" style="column-width: 25em;">
<ol class="references">
<li id="cite_note-jones-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-jones_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-jones_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-jones_1-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Jones, Steven Philip. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120219022149/http://www.fuziondigital.com/SPJ/writing2.htm">"On Writing Comics"</a>, Accessed Nov. 28, 2008.</span>
</li>
<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">M. Keith Booker (ed.), <i>Comics through Time: A History of Icons, Idols, and Ideas</i>, Santa Barbara, California: ABC-CLIO, 2014, pp. 174 and 867.</span>
</li>
<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Randy Duncan, Matthew J. Smith (eds.), <i>Icons of the American Comic Book: From Captain America to Wonder Woman</i>, Santa Barbara, California: ABC-CLIO, 2013, p. 755.</span>
</li>
<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Randy Duncan, Matthew J. Smith (eds.), <i>Icons of the American Comic Book: From Captain America to Wonder Woman</i>, Santa Barbara, California: ABC-CLIO, 2013, p. 539.</span>
</li>
<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Brian Michael Bendis, <i>Words for Pictures: The Art and Business of Writing Comics and Graphic Novels</i>, Jinxworld, Inc., 2014: "If you are a graphic novel writer, only a handful of people in the entire world will ever see your script".</span>
</li>
<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Harry Bingham, <i>Writers' and Artists' Yearbook Guide to Getting Published: The Essential Guide for Authors</i>, A&C Black, 2010, p. 84.</span>
</li>
<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><i>Contemporary Literary Criticism</i>, Volume 195, Gale, 2005, p. 167: "(Full name <a href="Neil_Richard_Gaiman" class="mw-redirect" title="Neil Richard Gaiman">Neil Richard Gaiman</a>) English graphic novelist".</span>
</li>
<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Ambiguity may arise with the term "graphic novelist" because it is also used to refer to the person who is both a comics writer and a comics artist; cf. M. Keith Booker (ed.), <i>Encyclopedia of Comic Books and Graphic Novels</i>, Santa Barbara, California: ABC-CLIO, 2010, p. 172: "<a href="William_Erwin_Eisner" class="mw-redirect" title="William Erwin Eisner">William Erwin Eisner</a> was a comic book creator, graphic novelist, teacher, entrepreneur, and advocate of comics".</span>
</li>
<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><a href="David%2C_Peter" class="mw-redirect" title="David, Peter">David, Peter</a>. <a rel="nofollow" class="external text" href="http://peterdavid.malibulist.com/archives/000870.html">"WHAT’CHA WANNA KNOW?"</a>, peterdavid.net, October 21, 2003</span>
</li>
<li id="cite_note-shooter20110311-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-shooter20110311_11-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">
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.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("./mw/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("./mw/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("./mw/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("./mw/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}
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</style><cite id="CITEREFShooter2011" class="citation web cs1">Shooter, Jim (2011-03-11). <a rel="nofollow" class="external text" href="http://jimshooter.com/2011/03/regrets.html/">"Regrets?"</a>. <i>jimshooter.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-08-15</span></span>.</cite></span>
</li>
<li id="cite_note-TCJ75-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-TCJ75_12-0">^</a></b></span> <span class="reference-text">Groth, Gary. "Editorial", <i>The Comics Journal</i> #75 (Sept. 1982), p. 4.</span>
</li>
<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><a href="Mark_Evanier" title="Mark Evanier">Evanier, Mark</a>. <i>Kirby: King of Comics</i> (<a href="Harry_N._Abrams" class="mw-redirect" title="Harry N. Abrams">Harry N. Abrams</a>, New York, 2008), p. 112</span>
</li>
<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><a href="Dennis_O'Neil" title="Dennis O'Neil">O'Neil, Dennis</a>. "Write Ways: An Unruly Anti-Treatise", chapter in Dooley, Michael, and Steven Heller, eds., <i>The Education of a Comics Artist: Visual Narrative in Cartoons, Graphic Novels, and Beyond</i> (Allworth Communications, 2005, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-58115-408-9</bdi>); p. 187</span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><a href="Stan_Lee" title="Stan Lee">Lee, Stan</a>, "Introduction", in Yoe Craig, <i>The Art of Ditko</i> (<a href="IDW_Publishing" title="IDW Publishing">Idea & Design Works</a>, January 2010), <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-60010-542-4</bdi>, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-1-60010-542-5</bdi>, p. 9</span>
</li>
<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">"Breaking Down a Page", <i>DC Nation</i> #5 (December 2018), pp 6-7. DC Comics (<a href="Burbank%2C_California" title="Burbank, California">Burbank, California</a>).</span>
</li>
<li id="cite_note-SecretsShadows-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-SecretsShadows_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-SecretsShadows_17-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-SecretsShadows_17-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-SecretsShadows_17-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFField2005" class="citation book cs1">Field, Tom (2005). <i>Secrets in the Shadows: The Art & Life of Gene Colan</i>. Raleigh, North Carolina: TwoMorrows Publishing. p. 61.</cite></span>
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<li id="cite_note-SeeingRed-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-SeeingRed_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-SeeingRed_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFCordier2007" class="citation journal cs1">Cordier, Philippe (April 2007). "Seeing Red: Dissecting Daredevil's Defining Years". <i><a href="Back_Issue!" title="Back Issue!">Back Issue!</a></i> (21). <a href="TwoMorrows_Publishing" title="TwoMorrows Publishing">TwoMorrows Publishing</a>: <span class="nowrap">33–</span>60.</cite></span>
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<li id="cite_note-Back17-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-Back17_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Back17_19-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFCassell2006" class="citation journal cs1">Cassell, Dewey (August 2006). "Talking About Tigra: From the Cat to Were-Woman". <i>Back Issue!</i> (17). TwoMorrows Publishing: 30.</cite></span>
</li>
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