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Wally Wood Net Worth
Wally Wood makes how much a year? For this question we spent 4 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Actors
Total Net Worth at the moment 2024 year – is about $144,3 Million.
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Biography
Wally Wood information Birth date: 1927-06-17 Death date: 1981-11-02 Profession:Actor Nationality:American
Height, Weight:
How tall is Wally Wood – 1,87m.
How much weight is Wally Wood – 87kg
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Wiki
Wallace Allan Wood (June 17, 1927 – November 2, 1981) was an American comic book writer, artist and independent publisher, best known for his work on EC Comicss Mad and Marvels Daredevil. He was one of Mads founding cartoonists in 1952. Although much of his early professional artwork is signed Wallace Wood, he became known as Wally Wood, a name he claimed to dislike. Within the comics community, he was also known as Woody, a name he sometimes used as a signature.In addition to Woods hundreds of comic book pages, he illustrated for books and magazines while also working in a variety of other areas – advertising, packaging and product illustrations, gag cartoons, record album covers, posters, syndicated comic strips, and trading cards, including work on Topps landmark Mars Attacks set.EC publisher William Gaines once stated, Wally may have been our most troubled artist… Im not suggesting any connection, but he may have been our most brilliant.He was the inaugural inductee into the comic book industrys Jack Kirby Hall of Fame in 1989, and was inducted into the Will Eisner Comic Book Hall of Fame in 1992.
Biography,Early life and careerWally Wood was born in Menahga, Minnesota, and he began reading and drawing comics at an early age. He was strongly influenced by the art styles of Alex Raymonds Flash Gordon, Milton Caniffs Terry and the Pirates, Hal Fosters Prince Valiant, Will Eisners The Spirit and especially Roy Cranes Wash Tubbs. Recalling his childhood, Wood said that his dream at age six, about finding a magic pencil that could draw anything, foretold his future as an artist. Wood graduated from high school in 1944, signed on with the United States Merchant Marine at the close of World War II and enlisted in the U.S. Armys 11th Airborne Division in 1946. He went from training at Fort Benning, Georgia, to occupied Japan, where he was assigned to the island of Hokkaido.In 1947, at age 20, Wood enrolled in the Minneapolis School of Art but only lasted one term. Arriving in New York City with his brother Glenn and mother Alma (of Finnish descent), after his military discharge in July 1948, Wood found employment at Bickfords restaurant as a busboy. During his time off he carried his thick portfolio of drawings all over midtown Manhattan, visiting every publisher he could find. He briefly attended the Hogarth School of Art but dropped out after one semester.By October, after being rejected by every company he visited, Wood met fellow artist John Severin in the waiting room of a small publisher. After the two shared their experiences attempting to find work, Severin invited Wood to visit his studio, the Charles William Harvey Studio, where Wood met Charlie Stern, Harvey Kurtzman (who was working for Timely/Marvel) and Will Elder. At this studio Wood learned that Will Eisner was looking for a Spirit background artist. He immediately visited Eisner and was hired on the spot.Over the next year, Wood also became an assistant to George Wunder, who had taken over the Milton Caniff strip Terry and the Pirates. Wood cited his first job on my own as Chief Ob-stacle, a continuing series of strips for a 1949 political newsletter. He entered the comic book field by lettering, as he recalled in 1981: The first professional job was lettering for Fox romance comics in 1948. This lasted about a year. I also started doing backgrounds, then inking. Most of it was the romance stuff. For complete pages, it was $5 a page… Twice a week, I would ink ten pages in one day.Artists representative Renaldo Epworth helped Wood land his early comic-book assignments, making it unclear if that connection led to Woods lettering or to his comics-art debut, the ten-page story The Tip Off Woman [sic] in the Fox Comics Western Women Outlaws No. 4 (cover-dated January 1949, on sale late 1948). Woods next known comic-book art did not appear until Foxs My Confession No. 7 (August 1949), at which time he began working almost continuously on the companys similar My Experience, My Secret Life, My Love Story and My True Love: Thrilling Confession Stories. His first signed work is believed to be in My Confession #8 (October 1949), with the name Woody half-hidden on a theater marquee. He penciled and inked two stories in that issue: I Was Unwanted (nine pages) and My Tarnished Reputation (ten pages).Wood began at EC co-penciling and co-inking with Harry Harrison the story Too Busy For Love (Modern Love #5), and fully penciling the lead story, I Was Just a Playtime Cowgirl, in Saddle Romances No. 11 (April 1950), inked by Harrison.1950sWorking from a Manhattan studio at West 64th Street and Columbus Avenue, Wood began to attract attention in 1950 with his science-fiction artwork for EC and Avon Comics, some in collaboration with Joe Orlando. During this period, he drew in a wide variety of subjects and genres, including adventure, romance, war and horror, message stories (for ECs Shock SuspenStories), and eventually satirical humor for writer/editor Harvey Kurtzman in Mad including a satire of the lawsuit Supermans publisher DC filed against Captain Marvels publisher Fawcett called Superduperman! battling Captain Marbles.Wood was instrumental in convincing EC publisher William Gaines to start a line of science fiction comics, Weird Science and Weird Fantasy (later combined under the single title Weird Science-Fantasy). Wood penciled and inked several dozen EC science fiction stories. Wood also had frequent entries in Two-Fisted Tales and Tales from the Crypt, as well as the later EC titles Valor, Piracy, and Aces High.Working over scripts and pencil breakdowns by Jules Feiffer, the 25-year-old Wood drew two months of Will Eisners Sunday-supplement newspaper comic book The Spirit, on the 1952 story arc The Spirit in Outer Space. Eisner, Wood recalled, paid him about $30 a week for lettering and backgrounds on The Spirit. Sometimes he paid $40 when I did the drawings, too.Books illustrated by WoodFeiffer, in 2010, recalled Woods studio, which was at that time in the very slummy Upper West Side [of Manhattan] in the [West] 60s, years before it was [the] Lincoln Center [area]. It was a cartoonist and science-fiction writers ghetto – just a huge room where the walls were knocked down, dark, smelly, roach-infested, and all these cartoonists and writers bent over their tables. One was [science-fiction writer] Harry Harrison.Between 1957 and 1967, Wood produced both covers and interiors for more than 60 issues of the science-fiction digest Galaxy Science Fiction, illustrating such authors as Isaac Asimov, Philip K. Dick, Jack Finney, C.M. Kornbluth, Frederik Pohl, Robert Silverberg, Robert Sheckley, Clifford D. Simak and Jack Vance. He painted six covers for Galaxy Science Fiction Novels between 1952 and 1958. His gag cartoons appeared in the mens magazines Dude, Gent and Nugget. He inked the first eight months of the 1958–1961 syndicated comic strip Sky Masters of the Space Force, penciled by Jack Kirby.[11]Wood expanded into book illustrations, including for the picture-cover editions (though not the dust-jacket editions) of titles in the 1959 Aladdin Books reissues of Bobbs Merrills 1947 Childhood of Famous Americans series.[12]Silver Age and Bronze AgeWood additionally did art and stories for comic-book companies large and small – from Marvel (and its 1950s iteration Atlas Comics), DC (including House of Mystery and Jack Kirbys Challengers of the Unknown), and Warren (Creepy, Eerie, 1984), to such smaller firms as Avon (Eerie, Strange Worlds), Charlton (War and Attack, Jungle Jim), Fox (Martin Kane, Private Eye), Gold Key (M.A.R.S. Patrol Total War, Fantastic Voyage), Harvey (Unearthly Spectaculars), King Comics (Jungle Jim), Atlas/Seaboard (The Destructor), Youthful Comics (Capt. Science) and the toy company Wham-O (Wham-O Giant Comics). In 1965, Wood, Len Brown, and possibly Larry Ivie[13] created T.H.U.N.D.E.R. Agents for Tower Comics.[14] He wrote and drew the 1967 syndicated Christmas comic strip, Buckys Christmas Caper.[15] During the 1960s, Wood did many trading cards and humor products for Topps Chewing Gum, including concept roughs for Topps famed 1962 Mars Attacks cards prior to the final art by Bob Powell and Norman Saunders.[16]Daredevil #7 (April 1964): Woods best-known work for Marvel, debuting Daredevils modern red costume.For Marvel during the Silver Age of Comic Books, Woods work as penciler-inker of Daredevil #5–8 and inker over Bob Powell of issues #9-11 established the title characters distinctive red costume (in issue #7).[17] Wood and Stan Lee introduced the Stilt-Man in Daredevil #8 (June 1965).[18] When Daredevil guest-starred in Fantastic Four #39–40, Wood inked that character, over Jack Kirby pencils, on the covers and throughout the interior.[19]Wood penciled and inked the first four 10-page installments of the companys Dr. Doom feature in Astonishing Tales #1–4 (Aug. 1970-Feb. 1971),[20] and both wrote and drew anthological horror/suspense tales in Tower of Shadows #5–8 (May–Nov. 1970), as well as sporadic other work.[21]In circles concerned with copyright and intellectual property issues, Wood is known as the artist of the unsigned satirical Disneyland Memorial Orgy poster, which first appeared in Paul Krassners magazine The Realist.[22] The poster depicts a number of copyrighted Disney characters in various unsavory activities (including sex acts and drug use), with huge dollar signs radiating from Cinderellas Castle. Wood himself, as late as 1981, when asked who did that drawing, said only,Id rather not say anything about that! It was the most pirated drawing in history! Everyone was printing copies of that. I understand some people got busted for selling it. I always thought Disney stuff was pretty sexy… Snow White, etc.[23] Disney took no legal action against either Krassner or The Realist but did sue a publisher of a blacklight version of the poster, who used the image without Krassners permission. The case was settled out of court.At DC Comics, he and Jim Shooter launched the Captain Action comic book series in 1968.[24] The following year, Wood briefly served as inker of the Superboy series.[25] Discovering from Roy Thomas that Jack Kirby had returned to DC in 1970, Wood called editor Joe Orlando in an attempt to get the assignment to ink Kirbys new work, but that role was already filled by Vince Colletta.[26] That same year, Wood was a ghost artist for an episode of Prince Valiant.[27] Wood worked on various series for DC between 1975 and 1977, producing several covers for Plop![28] and inking the pencil artwork of Steve Ditko and Jack Kirby on Stalker[29] and The Sandman respectively. He worked on the Hercules Unbound series as well, providing inks for Jose Luis Garcia-Lopez[30] and Walt Simonson.[31] Wood penciled and inked All Star Comics and contributed to the creation of Power Girl[32] by exaggerating the size of her breasts.[33] Active with the 1970s Academy of Comic Book Arts, Wood contributed to several editions of the annual ACBA Sketchbook. In one of his final assignments, Wood returned to a character he helped define, inking Frank Millers cover of Daredevil #164 (May 1980). His last known mainstream credit was inking Wonder Woman #269 (July 1980).Over several decades, numerous artists worked at the Wood Studio. Associates and assistants included Dan Adkins,[34] Richard Bassford, Howard Chaykin,[35] Tony Coleman, Nick Cuti,[36] Leo and Diane Dillon, Larry Hama,[37] Russ Jones, Wayne Howard,[38] Paul Kirchner, Joe Orlando, Bill Pearson, Al Sirois, Ralph Reese,[39] Bhob Stewart, Tatjana Wood, and Mike Zeck.PublisherIn 1966, Wood launched the independent magazine witzend (originally to be titled et cetera, a name which had to be withdrawn when Wood was told another magazine had already used this) one of the first alternative comics, a decade before Mike Friedrichs Star Reach or Flo Steinbergs Big Apple Comix for which Wood drew the cover and contributed a story. Wood offered his fellow professionals the opportunity to contribute illustrations and graphic stories that detoured from the usual conventions of the comics industry. After the fourth issue, Wood turned witzend over to Bill Pearson, who continued as editor and publisher through the 1970s and into the 1980s. Wood additionally collected his feature Sally Forth, published in the U.S. servicemens periodicals Military News and Overseas Weekly in 1968–1974, in a series of four oversize (10×12) magazines. Pearson, in 1993–95, reformatted the strips into a series of comics published by Eros Comix, an imprint of Fantagraphics Books, which in 1998 collected the entire run into a single 160-page volume.[40]In 1969, Wood created another seminal independent comic, Heroes, Inc. Presents Cannon, intended for his Sally Forth military readership as indicated in the ads and indicia. Artists Steve Ditko and Ralph Reese and writer Ron Whyte are credited with primary writer-artist Wood on three features: Cannon, The Misfits,[41] and Dragonella. A second magazine-format issue was published in 1976 by Wood and CPL Gang Publications. Larry Hama, one of Woods assistants, said, I did script about three Sally Forth stories and a few of the Cannons. I wrote the main Sally Forth story in the first reprint book, which is actually dedicated to me, mostly because I lent Woody the money to publish it.[42]In 1980 and 1981, Wood did two issues of a completely pornographic comic book, titled Gang Bang. It featured two sexually explicit Sally Forth stories, and sexually explicit versions of Disneys Snow White and the Seven Dwarfs, titled So White and the Six Dorks, Terry and The Pirates, titled Perry and the Privates, Prince Valiant, titled Prince Violate, Superman and Wonder Woman, titled Stuporman Meets Blunder Woman, Flash Gordon, titled Flasher Gordon, and Tarzan titled Starzan.Panels That Always WorkWood struggled to be as efficient as possible in the often low-paying comics industry.[43] Over time he created a series of layout techniques sketched on pieces of paper which he taped up near his drawing table. These visual notes, collected on three pages,[44] reminded Wood (and select assistants he showed the pages to)[45] of various layouts and compositional techniques to keep his pages dynamic and interesting.[43] (In the same vein, Wood also taped up another note to himself: Never draw anything you can copy, never copy anything you can trace, never trace anything you can cut out and paste up.)[44]In 1980, Woods original, three-page, 24 panel (not 22) version of Panels was published with the proper copyright notice in The Wallace Wood Sketchbook (Crouch/Wood 1980).[46] Around 1981,[44] Woods ex-assistant Larry Hama, by then an editor at Marvel Comics, pasted up photocopies of Woods copyrighted drawings on a single page, which Hama titled Wally Woods 22 Panels That Always Work!! (It was subtitled, Or some interesting ways to get some variety into those boring panels where some dumb writer has a bunch of lame characters sitting around and talking for page after page!) Hama left out 2 of the original 24 panels as his photocopies were too faint to make out some of the lightest sketches.[46] Hama distributed Woods elegantly simple primer to basic storytelling[47] to artists in the Marvel bullpen, who in turn passed them on to their friends and associates.[45] Eventually, 22 Panels made the rounds of just about every cartoonist or aspiring comic book artist in the industry and achieved its own iconic status.[47]Woods Panels That Always Work is copyright Wallace Wood Properties, LLC as listed by the United States Copyright Office which assigned the work Registration Number VA0001814764.[48]Homages and tributes to 22 PanelsIn 2006, writer/artist Joel Johnson bought the Larry Hama paste-up of photocopies at auction and made it available for wide distribution on the Internet.[45] In 2010 Anne Lukeman of Kill Vampire Lincoln Productions produced a short film adapting the 22 Panels That Always Work into a film noir-style experimental piece called 22 Frames That Always Work.[49] Artist Rafael Kayanan created a revised version of 22 Panels that used actual art from published Wood comics to illustrate each frame.[50] In 2006, cartoonist and publisher Cheese Hasselberger created Cheeses 22 Panels That Never Work, featuring bizarre situations and generally poor storytelling techniques.[51] In 2012, Michael Avon Oeming created a Powers-themed update/homage to 22 Panels, making it available for distribution.[52] In July 2012, Cerebus TV producer Max Southall brought together materials and released a documentary[53] that featured Dave Sims homage to Wally Wood and a focus on his 22 Panels, including a tribute that features a creation using the motif of one of them, depicting Daredevil and Wood himself, in Wally Wood style – and the Wally Wood Estates official print of the panels.Personal life and final yearsWood was married three times. His first marriage was to artist Tatjana Wood, who later did extensive work as a comic-book colorist. Their marriage ended in the late 1960s. His second marriage, to Marilyn Silver, also ended in divorce.For much of his adult life, Wood suffered from chronic, unexplainable headaches. In the 1970s, following bouts with alcoholism, Wood suffered from kidney failure. A stroke in 1978 caused a loss of vision in one eye. Faced with declining health and career prospects, he committed suicide by gunshot in Los Angeles three years later. Toward the end of his life, an embittered Wood would say, according to one Biography, , If I had it all to do over again, Id cut off my hands.[54]In 1972, EC editor Harvey Kurtzman, who worked closely with Wood during the 1950s, said:Wally had a tension in him, an intensity that he locked away in an internal steam boiler. I think it ate away his insides, and the work really used him up. I think he delivered some of the finest work that was ever drawn, and I think its to his credit that he put so much intensity into his work at great sacrifice to himself.[55]
Summary
Wikipedia Source: Wally Wood