Howard Chaykin Net Worth, Bio

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January 1, 2020

Howard Chaykin Net Worth

Howard Victor Chaykin how much money? For this question we spent 13 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 $43,4 Million.

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Biography

Howard Victor Chaykin information Birth date: October 7, 1950 Birth place: Newark, New Jersey, United States Profession:Writer, Miscellaneous Crew, Art Department Nominations:Locus Award for Best Art Book

Height, Weight

:How tall is Howard Chaykin – 1,84m.
How much weight is Howard Chaykin – 74kg

Pictures

Howard Chaykin Net Worth
Howard Chaykin Net Worth
Howard Chaykin Net Worth
Howard Chaykin Net Worth

Wiki

Born in 1950 in New Jersey but raised in East Flatbush and Brownsville, a neighborhood in Brooklyn, NY. His parents were separated and he was raised by his mother and adoptive father. Started out as a gofer for the legendary artist Gil Kane at 19, which also led him to work for Wally Wood, Gray Morrow, Neal Adams and Byron Preiss, all of whom are …
Biography,Early life and careerHoward Chaykin was born in Newark, New Jersey, to Rosalind Pave and Norman Drucker, who soon separated. Chaykin was initially raised by his grandparents in Staten Island, New York City, until his mother married Leon Chaykin in 1953 and the family moved to East Flatbush and later to 370 Saratoga Avenue, Brownsville, Brooklyn. At 14, Chaykin moved with his now divorced mother to the Kew Gardens section of Queens. He said in 2000 he was raised on welfare after his parents separated and that his absent biological father eventually was declared dead, although Chaykin, as an adult, located him alive. Chaykins nutty and cruel adoptive father, whom Chaykin until the 1990s believed was his natural father, encouraged Chaykins interest in drawing and bought him sketchbooks. He was introduced to comics by his cousin, who gave him a refrigerator box filled with them. He graduated from Jamaica High School at 16, in 1967, and in the summer of 1968 worked at Zenith Press. He attended Columbia College in Chicago that fall, but left school and returned to New York the following year. Chaykin said that after high school, I hitchhiked around the country before becoming, at 19, a gofer for the New York City-based comic book artist Gil Kane, whom he would name as his greatest influence.Id heard on the grapevine that Gils assistant had dropped dead of a heart attack at 23. I gave Gil a call, and he said, Yeah, I can use you. So I went to work for him. … He was doing [the early graphic novel] Blackmark, and I did a really bad job pasting up the dialog and putting in [Zip-a-Tone]…. It was a great apprenticeship. I learned a lot from watching Gil work.In 1970, he began publishing his art in comics and science-fiction fanzines, sometimes under the pseudonym Eric Pave. Leaving Kane, he began working as an assistant to comics artist Wally Wood in the studio he shared with Syd Shores and Jack Abel in Valley Stream, Long Island. He worked there for a couple of months, and in 1971 published his first professional comics work, for the adult-theme Western feature Shattuck in the military newspaper the Overseas Weekly, one of Woods clients. He also ghosted some stuff for Gray Morrow: I penciled a Man-Thing story he did [for Marvel Comics Fear #10 (cover-dated Oct. 1972)], and I penciled a thing for [the magazine] National Lampoon called Michael Rockefeller and the Jungles of New Guinea. He then apprenticed under Neal Adams, working with the artist at Adams home in The Bronx. This led to his first work at DC Comics, one of the two largest comics companies:Neal showed me to [editors] Murray Boltinoff and Julius Schwartz. Murray gave me a one-page filler. I also got some work from Dorothy Woolfolk, who edited the love comics. It was all just dreadful stuff, but you stumble along, and you learn. A problem for me was that by the time I became a professional, I lost any interest whatsoever in superhero comics. Im not a horror [comics] guy, and I didnt know what the hell to do! (laughter) What I wanted to draw is guys with guns, guys with swords, and women with big tits, and that was the extent of my interest in comics at the time.The one-page filler, titled Strange Neighbor, was inventoried and eventually published in the Boltinoff-edited Secrets of Sinister House #17 (May 1974). His other earliest known DC work was penciling and inking the three-page story Not Old Enough! in Young Romance #185 (Aug. 1972), and penciling the eight-page supernatural story Eye of the Beholder in Forbidden Tales of Dark Mansion #7 (Oct. 1972) and the one-page Enter the Portals of Weird War in Weird War Tales #9 (Dec. 1972).1970sChaykins first major work was for DC Comics drawing the 23-page The Price of Pain Ease — writer Denny ONeils adaptation of author Fritz Leibers characters Fafhrd and the Gray Mouser — in Sword of Sorcery #1 (March 1973). Although the title was well received, it lasted only five issues before cancellation. Chaykin drew the character Ironwolf in the science fiction anthology title Weird Worlds[11] for DC. Moving to Marvel Comics, he began work as co-artist with Neal Adams on the first Killraven story, seen in Amazing Adventures #18 in 1973.[12]Chaykins cover for Star*Reach #1 (April 1974).After this, Chaykin was given various adventure strips to draw for Marvel, including his own creation, Dominic Fortune (inspired by his Scorpion character, originally drawn for Atlas Comics), now in the pages of Marvel Preview.[13] In 1978, he wrote and drew his Cody Starbuck creation for the anthology title Star Reach, one of the first independent titles of the 1970s. These strips saw him explore more adult themes as best he could within the restrictions often imposed on him by editors and the Comics Code Authority. The same year, he produced for Schanes & Schanes a six-plate portfolio showcasing his character.In 1976, Chaykin landed the job of drawing the Marvel Comics adaptation of the first Star Wars film, written by Roy Thomas.[14][15] This proved successful for Marvel, but Chaykin left after ten issues to work in more adult and experimental comics, as well the more lucrative field of paperback book covers.In fall 1978,[16] Chaykin, Walt Simonson, Val Mayerik, and Jim Starlin formed Upstart Associates, a shared studio space on West 29th Street in New York City. The membership of the studio changed over time.[17]Chaykin penciled DC Comics first miniseries, The World of Krypton (July–September 1979).[18][19]In the next few years he produced material for Heavy Metal, drew a graphic novel adaptation of Alfred Bester’s The Stars My Destination, and produced illustrations for works by Roger Zelazny. Chaykin collaborated on two original graphic novels — Swords of Heaven, Flowers of Hell with writer Michael Moorcock, and Empire with Samuel R. Delany — and found time to move into film design with work on the movie version of Heavy Metal.1980sAmerican Flagg #2 (Nov. 1983). Cover art by Chaykin.Chaykin had a six-issue run on Marvels Micronauts series and drew issues #13 (Jan. 1980) to #18 (June 1980).[20] He went back to Cody Starbuck with a story in Heavy Metal between May and September 1981, in the same painted art style hed used for the Moorcock graphic novel.In 1983, Chaykin launched American Flagg! for First Comics. With Chaykin as both writer and artist, the series was successful for First and proved highly influential, mixing all of Chaykins previous ideas and interests — jazz, pulp adventure, science fiction and sex. Chaykin made wide use of Craftint Duoshade illustration boards, which in the period before computers, allowed him to add a shaded texture to the finished art.[21]After the first 26 issues of American Flagg!, Chaykin started work on new projects. Chaykin’s involvement in his original run of the series was that of writer for 29 issues, interior artist for issues #1–12 and 14–26, and cover artist for issues #1–33. He returned to full art and writing duties for the American Flagg! Special one-shot in 1986. In 1987, a four-issue run was released, then the title was cancelled and relaunched as Howard Chaykin’s American Flagg!. This new rendition failed to recapture the glory days of the title’s early years and only lasted 12 issues before cancellation.The first new project was a controversial revamp of The Shadow in a four-issue miniseries for DC Comics in 1986.[22] Rather than setting the series in its traditional 1930s milieu, Chaykin updated it to a contemporary setting and included his own style of extreme violence. In a 2012 interview, Chaykin stated The reason I pulled him out of the period was because I thought it would be commercial suicide to do a period character at that point.[23]The American Flagg! Special one-shot was designed to introduce Chaykins next major work, a graphic novel series called Time?. The work—combining semi-autobiographical elements with a heavy dose of jazz, film noir and a fantasy version of New York City—resulted in two graphic novels (Time?: The Epiphany (ISBN 0-915419-07-6) and Time?: The Satisfaction of Black Mariah (ISBN 0-915419-23-8)).During a 1987 interview originally published in Amazing Heroes #132, Chaykin described plans for a third graphic novel. Its probably going to be grossly different from the first two, because Im taking things in another direction, Chaykin said at the time. I want to do a story that is both very funny … and at the same time very, very ugly. Really nasty and unpleasant. Because frankly, its the place to do that sort of thing.[24]Although Chaykin hoped it would be available in summer 1988, the third book was never released.Chaykin has described Time? as the single work about which he is most proud. To tell you the truth, my first interest would be to do another Time? because that was a very personal product for me, he said in a 2008 interview. Its a fantasia of my familys story.[25]Before returning to American Flagg!, Chaykin revamped another DC Comics character: Blackhawk was a three-issue mini-series that gave Chaykin another chance to indulge in the 1930s milieu, proving itself another successful revamping of a defunct DC character.When DC proposed a system of labeling comics for violent or sexual content, Chaykin (with Alan Moore and Frank Miller) boycotted DC and refused to work for the company. In Chaykin’s case, the boycott would only last until the early 1990s.In 1988, Chaykin created perhaps his most controversial title: Black Kiss, a 12-issue series published by Vortex Comics which contained his most explicit depictions of sex and violence yet. Telling the story of sex-obsessed vampires in Hollywood, Black Kiss pushed the boundaries of what could be shown in mainstream comics. Even though Black Kiss shipped sealed in an adults only clear plastic bag, its content drew much criticism. This did not stop it from selling well enough for Chaykin to describe it as probably, on a per-page basis, the most profitable book Ive ever done.[26]1990sChaykin returned to DC to write a three-issue prestige format mini-series called Twilight, drawn by Jose Luis Garcia-Lopez, in a style blending Chaykins storytelling and Garcia-Lopezs elegant line art. This was another radical revamp of DC characters—this time, DC’s science fiction heroes from the 1950s and 1960s, such as Tommy Tomorrow and Space Cabby. He collaborated twice with artist Mike Mignola. In 1990-1991, they produced the Fafhrd and the Gray Mouser limited series for Epic Comics with co-writer John Francis Moore and inker Al Williamson. This was followed with the Ironwolf: Fires of the Revolution graphic novel in 1992.[27] Chaykin then wrote and illustrated Midnight Men for Marvels Epic imprint in 1993. He co-created/designed Firearm for Malibu Comics that same year, and then with several colleagues formed the creator-owned Bravura imprint for Malibu Comics. Chaykin created the four-issue miniseries Power and Glory in 1994, a superhero-themed Public relations satire.In 1996, DC’s Helix imprint published Cyberella, a cyberpunk dystopia written by Chaykin and drawn by Don Cameron.Chaykin began to drift out of comics by the mid-1990s. With the exception of several Elseworlds stories he wrote for DC Comics, including Batman: Dark Allegiances which he wrote and drew in 1996, his comic output became minimal as he became more involved in film and television work. He was executive script consultant for The Flash television series on CBS,[28] and later worked on action-adventure programs such as Viper, Earth: Final Conflict and Mutant X.Near the end of the decade, Chaykin started to drift back into comics and co-wrote with David Tischman the three-issue mini-series Pulp Fantastic for the Vertigo imprint of DC, with art by Rick Burchett.2000sChaykins cover for American Century #1 (May 2001).Chaykin began co-writing American Century with David Tischmann for Vertigo.[29] This story, set in post-war America, would be a pulp-adventure strip inspired by the likes of Terry and the Pirates as well as the EC Comics war stories created by Harvey Kurtzman. That year, Chaykin became part of the creative team on Mutant X, a television series inspired by the Marvel Comics series of mutant titles.His next work was Mighty Love, a 96-page original graphic novel published in 2004 and described as You’ve Got Mail with super-powers.[30] This was acclaimed as a return to the type of work he did on American Flagg! and contained his first art in a title since the early 1990s.That year, Chaykin and Tischmann revamped Challengers of the Unknown in a six-issue mini-series for DC, as well as writing a mini-series about gangster vampires called Bite Club for Vertigo.[31] The pair wrote Barnum!: In Secret Service to the USA, a graphic novel in which real-life showman P. T. Barnum comes to the aid of the U.S. government.In 2005, Chaykin produced the six-part City of Tomorrow, a DC/Wildstorm production involving a futuristic city populated by gangster robots. Chaykin described the mini-series as The Untouchables meets West World at Epcot.[32] That same year, he wrote the four-issue mini-series Legend updating the character Hugo Danner for Wildstorm.He illustrated 24 College Ave., a story serialized online in 54 chapters for ESPN.com’s Page 2 section. ESPN.com columnist Jim Caple wrote the text, each episode of which was accompanied by a single-panel Chaykin drawing.[33]Challengers of the Unknown #1 (Aug. 2004). Cover art by Chaykin.In 2006, he began working on his first superhero title for DC Comics, pencilling Hawkgirl, with Walter Simonson writing, starting with issue #50.[34] With issue 56, he stopped drawing the series, mainly to get time to work on Marvel’s Blade with Marc Guggenheim, although he continued to draw Hawkgirl covers for a few issues.Also in 2006, DC Comics published a two-page Black Canary origin story drawn by Chaykin for the series 52. Later that year, DC released Guy Gardner: Collateral Damage. The two-issue series, written and drawn by Chaykin, revolves around the Green Lantern Corps role in an interstellar war.After Blade was cancelled with issue 12, he pencilled issue 50 of Punisher, Wolverine (vol. 3) #56–61, Punisher War Journal (vol. 2) (#16–24) and an issue of Immortal Iron Fist. Chaykin illustrated the 2008 Marvel MAX comic War Is Hell: The First Flight of the Phantom Eagle, scripted by Garth Ennis. He wrote Supreme Power #1–12 for Marvel. In 2009, he wrote and penciled Dominic Fortune.2010sIn 2010 he wrote Die Hard: Year One, a comic about John McClane from the Die Hard series for Boom! Studios.[35] Marvel in June 2010 published a Rawhide Kid miniseries drawn by Chaykin and written by Ron Zimmerman.Chaykin wrote and drew the Avengers 1959 five-issue miniseries, a spinoff of a storyline introduced in The New Avengers. The first issue was released in October 2011.[36]Chaykin helmed a reboot of the science-fiction character Buck Rogers beginning in August 2013, again in the capacity of both artist and writer.[37]

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Wikipedia Source: Howard Chaykin

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