Read Ebook {PDF EPUB} The Ghost Rider by Dick Ayers The Ghost Rider 1 2 3 4 5 6 7 Complete Series 1967. The Ghost Roder #1, 2, 3, 4, 5, 6, 7 UngradedComplete SerisIst Phantom Rider by Dick Ayers (1967) All comice come complete with board and bagged from a smoke free home. If you have questions please don’t hesitate to contact me. Thank you for stopping by. Similar items. The Ghost Rider 1 2 3 4 5 6 7 Complete Series 1st Phantom Rider 1967 Dick Ayers. The Ghost Rider 1 2 3 4 5 6 7 Complete Series 1st Phantom Rider 1967 Dick Ayers. Cosmic Ghost Rider 1 2 3 4 5 (marvel, 2018) All Ghost Rider 1 2 3 4 5 6 7 8 9 10 11 12 1st Robbie Reyes 1 - 3, What If. Cosmic Ghost Rider 1, 2, 3, 4, 5 (first Prints, Vf, ) Donny Cates, Burnett. Ghost Rider (1967 Marvel Western) comic books. Origin and first appearance of Ghost Rider (Carter Slade) and his horse Banshee in "The Origin of the Ghost Rider," script by Gary Friedrich, Roy Thomas, and Dick Ayers (plot), pencils by Dick Ayers, inks by Vince Colletta; School teacher Carter Slade was making his way to Bison Bend, Montana, to become the teacher for the new school built by newly settled homesteaders looking to build a home. Upon his arrival, however, he witnessed an attack by Indians; Slade put up a good fight but was outnumbered; Flaming Star treated Slade's wounds and pleaded to the gods for days to spare the life of the white man; Finally, on the Eighth day, Slade awoke which prompted Flaming Star to proclaim him the chosen one that had been revealed in prophecy that would become a powerful warrior, a living legend called "He Who Rides the Night Winds." Also a 6 page Kid Colt reprint, "The Menace of the Mask Maker!", script by Stan Lee, art by Jack Keller; A mask maker frames Kid Colt for a crime; originally presented in Kid Colt Outlaw # 105 (07/1962). Cover art by Dick Ayers. 36 pgs., full color. Cover price $0.12. The Ghost Rider by Dick Ayers. Ayers published Radio Ray, his first comic strip, in the military newspaper Radio Post in 1942 while serving in the Army Air Corps during World War II. Afterward, his first attempt to break into the general comics field was a submission to Western Publishing's Dell Comics imprint. "I approached them," Ayers said in a 1996 interview. "I had a story written and drawn. They wanted to wrap a book around it. I got into it, but Dell decided to scrap the project. . It was an adventure thing, boy and girl; the boy wanted to be a trumpet player. The girl kept feeding the jukebox and he'd play along to Harry James or whatever sort of thing. . It didn't make it, but it got me started where I wanted to be in the business." After making a few connections during this venture, in 1947 Ayers studied under Burne Hogarth in the first class of Hogarth's new institution, called New York City's Cartoonists and Illustrators School (renamed the School of Visual Arts in 1956). Joe Shuster, co-creator of Superman, would visit the class, and Ayers eventually visited his nearby studio. "Next thing I knew," Ayers said, "I was penciling a bit here and there." In a 2005 interview, Ayers elaborated that, "Joe had me pencil some of his Funnyman stories after seeing my drawings at Hogarth's evening class" and "sent me to Vin Sullivan of Magazine Enterprises." (Sullivan also became an editor at DC Comics.) There, Sullivan "let me try the Jimmy Durante strip. I submitted my work and got the job." (As an aside for TV trivia buffs, Ayers' hands appear onscreen as those of a cartoonist played by actor Don Briggs in "The Comic Strip Murders," a 1949 episode of the CBS television series Suspense.) Ayers went on to pencil and ink western stories in the late 1940s for Magazine Enterprises' A-1 Comics and Trail Colt, and for Prize Comics' Prize Comics Western. With writer Ray Krank, Ayers created the horror-themed Western character Ghost Rider in Tim Holt #11 (1949), a comic named after actor Tim Holt of Treasure Of The Seirra Madre and several western films. The character appeared in stories through the run of Tim Holt, Red Mask, A-1 Comics, Bobby Benson's B-Bar-B Riders, and the 14-issue solo series The Ghost Rider (1950–1954), It continued until the introduction of the Comics Code later that same decade. (After the trademark to the character's name and motif lapsed due to non-use, Marvel Comics later debuted its own near-identical, horror-free version of the character in Ghost Rider #1 in February 1967, written by Roy Thomas and Gary Friedrich. And who did the art? Ayers, the original Ghost Rider artist, of course.) In 1952, while continuing to freelance for Magazine Enterprises, Ayers began a long freelance run at Atlas Comics, the 1950s forerunner of Marvel Comics. He drew horror stories in such titles as Amazing Adventures, Astonishing Worlds, Mystic, and Menace. He also did some "Tales" titles - Mystery Tales, Strange Tales, and Uncanny Tales, as well as some "Into" titles - Adventures Into Terror, Journey Into The Unknown, and of course Journey Into Mystery. His work also included the brief revival of the 1940s Golden Age of comics superhero the Human Torch, from Marvel's 1940s predecessor Timely Comics, in Young Men # 21-24 (June 1953 - Feb. 1954). An additional, unpublished Human Torch story drawn by Ayers belatedly appeared in Marvel Super-Heroes #16 (Sept. 1968). During the 1950s, Ayers also drew freelance for Charlton Comics, including for the horror comic The Thing and the satirical series Eh!. (And remember, the huge orange worm-like Thing in this comic was done years before the huge rock-like thing in The Fantastic Four by Jack Kirby for Marvel Comics appeared in the 1960s.) Speaking of Kirby, Ayers first teamed with him at Atlas shortly before the company became Marvel Comics. As the comic-book legend's second regular Marvel inker, following Christopher Rule, Ayers would ink countless Kirby covers and stories, including such landmark comics as most of the afore-mentioned earliest issues of The Fantastic Four, and a large amount of western and "pre-superhero Marvel" monster stories in the also afore-mentioned "Tales" and "Into" titles. Because creator credits were not routinely given at the time, a standard database disagrees over the duo's first published collaboration: The Grand Comics Database cites the cover of Wyatt Earp #24 (Aug. 1959), which Atlas Tales lists as inked by George Klein. But the GCD tentatively lists Ayers as inker of the Kirby cover for that same month's Strange Tales #70, for which Atlas Tales credits Ayers without qualification. However, Ayers himself revealed in 1996 that "the first work I did with Jack was the cover of Wyatt Earp #25 [Oct. 1959]. Stan Lee [Editor-in- chief] liked it and sent me another job, 'The Martian Who Stole My Body,' for Journey Into Mystery #57 [Dec. 1959]. Dick Ayers at a recent comics convention. (Click pic to enlarge.) Journey Into Mystery 87. Copyright © 1962 Marvel Comics (Click pic to enlarge.) "I also began Sky Masters, the [syndicated] newspaper strip," Ayers continued, as he addressed another point of debate. "There is a lot of confusion on this; people think Wally Wood inked them all, because they're signed Kirby/Wood. But that was Dave Wood, the writer [no relation to artist Wally Wood]. I began Sky Masters with the 36th Sunday page; Jack's pencils, my inks, in September of 1959. "I ended the Sundays in January of 1960. I also did the dailies for a period of [over] two years, from September of '59 to December of '61. These were complete inks; I was the only one doing it at the time. Of course, Wally Wood also worked on that strip, in the beginning, before me." Ayers went on to ink scores of Kirby Western and monster stories, including such much-reprinted tales as "I Created The Colossus!" (Tales of Suspense #14, Feb. 1961), "Goom! The Thing From Planet X!" (Tales of Suspense #15, March 1961), and "Fin Fang Foom!" (Strange Tales #89, Oct. 1961). There were also two stories in the first comic book formally published by the newly christened Marvel Comics, Amazing Adventures #3 (Aug. 1961). As Marvel Comics introduced its the Marvel Age Of Superheroes in the early 1960s, Ayers inked Kirby on the first appearances of Ant-Man (Tales to Astonish #27 and 35, Jan. and Sept. 1962), Sgt. Fury and his Howling Commandos (issues #1-3, May-Sept. 1963), and the revamped Rawhide Kid (beginning with The Rawhide Kid #17, Aug. 1960). On the second and several subsequent early appearances of Thor (Journey into Mystery #84-89, Sept. 1962 - Feb. 1963), plus others; on Fantastic Four #6-20 (Sept. 1962 - Nov. 1963), and the spin-off Human Torch solo series in Strange Tales (starting with its debut in issue #101); and on some early issues of The Incredible Hulk, among other series. Additionally, Ayers took over from Kirby as Sgt. Fury penciler with issue #8 (July 1964), beginning a 10-year run that — except for #13 (which he inked over Kirby's pencils), and five issues by other pencilers - continued virtually unbroken through #120 (with the series running Ayers reprints every-other-issue through most but not all from #79 on). That's right - while Kirby was hands down the busiest artist at Marvel, that guy Ayers was certainly no slouch, either! During the late 1980s, Ayers drew at least one edition of the promotional comic-book series TRS-80 Computer Whiz Kids: Alec and Shanna, alternately titled The Tandy Computer Whiz Kids: Alec and Shanna, published by Archie Comics for Radio Shack. The comics worked in references to a multitude of Radio Shack products. Ayers, inked by Chic Stone, drew the cover and the 28-page main story, written by Paul Kupperberg, for The Tandy Computer Whiz Kids: The Computers that Said No to Drugs Edition (March 1985). Of course this pioneering genre proved to be a gateway that would greatly help to usher in the era of home computers (and eventually their connection to the internet) that is still thriving today. Ayers' work amazingly continued into the 2000s, including pencil art on The Song Of Mykal in 2001, and The Uncanny Dave Cockrum. A Tribute in 2004. In 2007 he worked on Doris Danger Seeks Where Urban Creatures Creep and Stomp!, The 3-Minute Sketchbook, and The Invincible Iron Man. He even penciled and lettered Femforce vs The Claw in 2002 and Femforce Features: Giantess in 2004, and penciled, inked and lettered Gunslingers in 2000 and Chips Wilde: The Wild One! in 2005. His older pencil and ink work has also appeared in archival reprints throughout the 2000s, and naturally in the Marvel Comics reference series All- New Official Handbook Of The Marvel Universe A-Z #6 (2006) and its 2007 update. In 2009, his work appeared in the Marvel Mystery Handbook 70th Anniversary Special. Ayers died at his home in White Plains, New York on May 4, 2014, less than a week after his 90th birthday. Awards And Honors: * Sgt. Fury and his Howling Commandoes, drawn by Ayers, won the Alley Award for Best War Title in 1967 and 1968. * 1985 National Cartoonists Society Award for Best Comic Book * 2007 inductee, Will Eisner Comic Book Hall of Fame. Ghost Rider. Rex Fury was originally known as the Calico Kid . Rex would pretend to be a mild mannered and wimpy traveling salesman, but he would change into the Calico Kid and become a colorfully-dressed hero. He was assisted by a young Chinese boy named Sing Song whom he had saved from being framed for murder. His black horse was named Ebony, but he later got a new white horse named Spectre after becoming Ghost Rider. Federal marshal Rex Fury wore a white outfit covered with phosphorus and a cape that had phosphorescent on one side and black on the other. Federal marshal, Rex Fury. Rex used the black side of the cape to cover parts of his body to give the illusion that he was merely a floating head or pair of hands. To further the illusion, he wielded a black lariat and a black bullwhip so that he could appear to grab things at a distance, and even his twin six-guns and his horse, Spectre, glowed in the dark. The Ghost Rider battled many foes who, like him, were not truly supernatural at all, such as an impostor of Frankenstein's Monster and the Harpy, as well as others who were the real deal, such as werewolves and vampires. While the character never crossed over with anyone, his mask inspired the Avenger to put on a costume. Barry's Pearls of Comic Book Wisdom. In the beginning of The Marvel Age of Comics (1961) there were basically two writers (Lee and Lieber) and four artists (Kirby, Ditko, Heck and Ayers) who carried the load. (There were a few others. ) Even back then, I thought DC had a house style for artists and anyone who did Superman or Batman had to make sure that the characters looked much the same. I never thought that of Marvel . In my opinion Marvel had a “house” layout (Jack Kirby’s, of course) but their artists could personalize their art. Don Heck and Dick Ayers were not as innovative in their styles as Kirby and Ditko, but were wonderful storytellers and fine artists and they very much brought their own vision to their illustrations. That is why I felt they did their very best, not on creatures from outer space, but on REAL people in romance, westerns and war comics. Ayers excelled in the last two. The Ghost Rider stories in this volume are great examples. Dick Ayers liked to tell a story at his own pace and the Marvel method was ideal for him. In his later years we became friends and I, along with Nick and John Caputo and Mike Vassallo visited Dick and his lovely wife Lindy in their house in Westchester, near Professor's X's school for exceptional children. Dick never ran out of funny and great stories about him and Stan Lee and how much he liked working with him.