Gerry Conway Net Worth
How Much money Gerard F. Conway has? 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: Authors
Total Net Worth at the moment 2021 year – is about $102,8 Million.
Gerard F. Conway information Birth date: September 10, 1952 Birth place: Brooklyn, New York City, New York, United States Height:6 2 (1.88 m) Profession:Writer, Producer, Miscellaneous Crew Spouse:Karen Britten (m. 1992) Children:Rachel Conway, Cara ConwayBooks:Adventures of Superman
:How tall is Gerry Conway – 1,75m.
How much weight is Gerry Conway – 89kg
Gerard F. Gerry Conway (born September 10, 1952) is an American writer of comic books and television shows. He is known for co-creating the Marvel Comics vigilante the Punisher and scripting the death of the character Gwen Stacy during his long run on The Amazing Spider-Man. At DC Comics, he is known for co-creating the superhero Firestorm and others, and for writing the Justice League of America for eight years. Conway is also notable for scripting the first major, modern-day intercompany crossover, Superman vs. the Amazing Spider-Man.
Biography,Early careerBorn in Brooklyn, New York City, Conway grew up a comic fan, a letter from him appears in Fantastic Four No. 50 (May 1966), written when Conway was 14. He published his first professional comic book work at 16, with the 6?-page horror story Aaron Philips Photo Finish in DC Comics House of Secrets No. 81 (Sept. 1969). He continued selling such anthological stories for that series and for Marvels Chamber of Darkness and Tower of Shadows through the end of 1970, by which time he had also published one-page, text short stories in DCs All-Star Western No. 1 (Sept. 1970) and Super DC Giant #S-14 (Oct. 1970). He published his first continuing-character story in DCs semi-anthological occult comic The Phantom Stranger No. 10 (Dec. 1970). He attended New York University for a time.Conway recalled breaking into Marvel Comics through Marvel editor Roy Thomas:Id been writing for DC Comics for two or three years . . . but to paraphrase the joke about the actors ambitions to be a director, what I really wanted to do was write superheroes – specifically Marvel heroes. Through friends Id become acquainted with Roy Thomas, who was Stan Lees right-hand man at the time, and Roy offered me a shot at the Marvel writing test. Stan wasnt impressed, but Roy liked what I did, and began throwing some short assignments my way, including scripting over his plot on an early Ka-Zar [story]. . . .Following his first continuing-character story for Marvel, with his script for the jungle lord Ka-Zar in Astonishing Tales No. 3 (Dec. 1970), Conway began writing superhero stories with Daredevil No. 72 (Jan. 1971). He quickly went on to assignments on Iron Man, The Incredible Hulk, and both The Inhumans and The Black Widow features in the split book Amazing Adventures. He scripted the first Man-Thing story, in 1971, sharing co-creation credit with Stan Lee and Roy Thomas. Conway would eventually script virtually every major Marvel title, as well as co-create (with writers Roy & Jean Thomas and artist Mike Ploog) the lycanthropic lead character of the feature Werewolf by Night, in Marvel Spotlight No. 2 (Feb. 1972), and write the premiere issue of Marvels The Tomb of Dracula, introducing the longstanding literary vampire into the Marvel universe.Spider-Man and intercompany rotationAt 19, Conway began scripting The Amazing Spider-Man, succeeding Stan Lee as writer of one of Marvels flagship titles. His run, from issues #111–149 (August 1972 – October 1975), included the landmark death of Gwen Stacy story in No. 121 (June 1973). Eight issues later, Conway and Andru introduced the Punisher as a conflicted antagonist for Spider-Man, as well as the Jackal. The Punisher went on to become a popular star of numerous comic books and has been adapted into three movies. Conway additionally wrote Fantastic Four, from #133–152 (April 1973 – Nov. 1974).Conway in 2009 reflected on writing flagship Marvel characters at a very young age:Precocity is a well-known curse, most of the pressure I felt as a younger writer was self-imposed. I wanted to be accepted by other writers and artists as an equal, which put me in some awkward situations – pretending to be more mature than I was, emotionally and professionally. As it happened, I was pretty good at faking a maturity I didnt have, which had advantages and, obviously, some disadvantages. I think people often forgot how young I was, and expected me to perform at a level that was actually beyond me. The result was, I was pretty stressed for most of my early career as a writer, and I often felt like I had no idea what I was doing —which was true. I wrote instinctively and from the gut, when those instincts were appropriate to the material I was writing – for example, when I was writing [The Amazing] Spider-Man — the results were something I was quite proud of, then and now. When my instincts were off, I didnt have the experience to either recognize it, or to compensate for it, with results that were more uneven.In the fall of 1972, Conway and writers Steve Englehart and Len Wein crafted a metafictional unofficial crossover spanning titles from both major comics companies. Each comic featured Englehart, Conway, and Wein, as well as Weins first wife Glynis, interacting with Marvel or DC characters at the Rutland Halloween Parade in Rutland, Vermont. Beginning in Amazing Adventures No. 16 (by Englehart with art by Bob Brown and Frank McLaughlin), the story continued in Justice League of America No. 103 (by Wein, Dick Dillin and Dick Giordano), and concluded in Thor No. 207 (by Conway and penciler John Buscema). As Englehart explained in 2010, It certainly seemed like a radical concept and we knew that we had to be subtle (laughs) and each story had to stand on its own, but we really worked it out. Its really worthwhile to read those stories back to back to back – it didnt matter to us that one was at DC and two were at Marvel – I think it was us being creative, thinking what would be really cool to do.Conway returned to DC Comics in mid-1975, beginning with three books cover-dated Nov. 1975: Hercules Unbound No. 1, Kong the Untamed No. 3, and Swamp Thing No. 19. He wrote a revival of the Golden Age comic book series All Star Comics which introduced the character Power Girl. Shortly afterward, he was chosen by Marvel and DC editors to script the historic intercompany crossover Superman vs. the Amazing Spider-Man No. 1, a 96-page, tabloid-sized, $2 one-shot, at a time when comic books sold for 25 cents.He continued writing for DC, on titles including Superman, Detective Comics (starring Batman), Metal Men, Justice League of America, 1st Issue Special No. 11 starring Codename: Assassin, and that of the licensed character Tarzan. Conway briefly returned to Marvel where he succeeded Marv Wolfman as editor-in-chief in March 1976, but held the job only about a month-and-a-half, relinquishing the post and being succeeded by Archie Goodwin.For a time, a confluence of publishing schedules resulted in Conway stories appearing in both Marvel and DC comics in the same month: The prolific Conways comic books with January 1977 cover-dates alone, for example, are Marvels The Avengers, The Defenders, Captain Marvel, Iron Man, The Spectacular Spider-Man, and the premiere issues of Ms. Marvel and Logans Run, and Superman and Action Comics.DC Comics and later careerAfter leaving Marvels editorship, he again wrote exclusively for DC for the next decade writing both major and lesser titles – from those featuring Superman, Wonder Woman, and the Legion of Super-Heroes to such books as Weird Western Tales, Atari Force and Sun Devils. He had an eight-year run on Justice League of America, writing most issues from #151–255 (Feb. 1978 – Oct. 1986) including the double-sized anniversary issue #200 (March 1982). Conway wrote two additional Superman projects in the oversized tabloid format, Superman vs. Wonder Woman, drawn by Jose Luis Garcia-Lopez, and Superman vs. Shazam, drawn by Rich Buckler.He co-created the characters Firestorm with artist Al Milgrom and Steel, the Indestructible Man with artist Don Heck in the premiere issues (both March 1978) of the respective titular comics. Two other Conway co-creations, the Deserter (with artist Dick Ayers) and the Vixen (with artist Bob Oksner) were scheduled to receive their own series as well but were canceled before any issues were published. He additionally co-created the characters Vibe and Gypsy. As writer of Batman #337–359 (July 1981 – May 1983) and the feature Batman in Detective Comics #497–526 (Dec. 1980 – May 1983), he introduced the characters Killer Croc and Jason Todd, the latter of whom became the second Robin, succeeding original sidekick Dick Grayson. With artist Gene Colan, Conway revived the Golden Age supervillains Doctor Death in Batman #345 (March 1982) and the Monk in Batman #350 (Aug. 1982).Conway was a frequent collaborator with Roy Thomas. Together they wrote a two-part Superman – Captain Marvel team-up in DC Comics Presents #33–34 (May–June 1981), the Atari Force and Swordquest mini-comics packaged with Atari 2600 video games, and three Justice League of America-Justice Society of America crossovers. Conway contributed ideas to the funny animal comic Captain Carrot and His Amazing Zoo Crew!, created by Thomas and Scott Shaw. Thomas and Conway were to be the co-writers of the JLA/Avengers intercompany crossover, but editorial disputes between DC and Marvel caused the projects cancellation.Conway returned to Marvel in the 1980s and served as the regular writer of both The Spectacular Spider-Man and Web of Spider-Man from 1988 until 1990. Conway stated in 1991 that I understand the character a lot better now than I did when I was nineteen. And one of the nice things about the Marvel characters is that you can keep them fresh by changing them just a bit. His run on Spectacular included such story arcs as the Lobo Brothers Gang War. He relinquished writing duties on both titles when he became the story editor of the television series Father Dowling Mysteries.Conways last recorded comics credit for many years was Topps Comics Kirbyverse one-shot NightGlider No. 1 (April 1993), scripting from a Roy Thomas plot. Conway returned to comics in 2009 and wrote DC Comics The Last Days of Animal Man, with artist Chris Batista. In 2011, he wrote the DC Retroactive: Justice League – The 80s one-shot. In 2015, he returned to Spider-Man by writing a story in Spider-Verse Team Up #2. featuring alternate versions of Spider-Man and Gwen Stacy, and the Spiral storyline in Amazing Spider-Man #16.1–20.1.Books, comic strips, screenplaysIn addition to comics, Conway published two science-fiction novels: The Midnight Dancers and Mindship He also wrote the February 14 – December 3, 1983 dailies of the syndicated newspaper comic strip Star Trek, based upon the 1960s TV series.Conway as well moved into screenwriting in the 1980s, starting with the animated feature Fire and Ice (1983), co-written with Roy Thomas, based on characters created by Ralph Bakshi and Frank Frazetta. Conway and Thomas wrote the story basis for Stanley Manns screenplay for the film Conan the Destroyer (1984).Conway wrote, and later produced, such TV series as Father Dowling Mysteries, Diagnosis: Murder, Matlock, Jake and the Fatman, Hercules: The Legendary Journeys, Baywatch Nights, Pacific Blue, Silk Stalkings, Perry Mason telefilms, Law & Order, The Huntress, Law & Order: Criminal Intent, and an episode of Batman: The Animated Series (Appointment in Crime Alley). Conway frequently referenced his comic book connections during his stint on Law & Order by naming characters on the show after comic book creators such as John Byrne.
Wikipedia Source: Gerry Conway