| Jim Mooney |
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Jim Mooney (born 1919 ) is an American Comic Book Artist best known as a Marvel Comics inker and Spider-Man artist, and as the signature artist of DC Comics ' Supergirl , both during what comics historians and fans call the Silver Age Of Comic Books . BIOGRAPHY Early life and career After attending art school, Mooney in 1940, left was working there, Nick Cardy ... and Eisner himself. I was beginning to feel that I was way, way in beyond my depth...." Jim Mooney interview , Adelaide Comics and Books Mooney went on staff at Fiction House for approximately nine months, working on feature including "Camilla" and "Suicide Smith" and becoming friends with colleagues George Tuska , Ruben Moreira (a future '' Tarzan '' comic-strip artist), and Cardy. He began freelancing for Timely Comics , the 1940s predecessor of Marvel, working on that company's "animation" lline of Funny Animal and movie-cartoon tie-in comics. As Mooney describes his being hired by editor-in-chief and art director Stan Lee , Mooney also wrote and drew a funny-animal feature, "Perky Penguin and Booby Bear", in 1946 and 1947 for '' Treasure Chest '', the Catholic -oriented comic book distributed in Parochial Schools . Supergirl and DC Mooney then began a 22-year association with the company that would evolve into DC. From 1946 to 1968, he drew for such titles as '' Batman '' (for which he was a Ghost Artist for credited artist Bob Kane and '' Superboy '', and such features as " Dial H For Hero " in '' House Of Mystery ''; Tommy Tomorrow in '' Action Comics '' and '' World's Finest Comics ''; and, most notably, the backup feature Supergirl in ''Action Comics''. (He also contributed to Atlas Comics , the 1950s iteration of Marvel, on at least a handful of 1953-54 issues of ''Lorna the Jungle Queen''.) As Mooney recalled of coming to DC, By the late 1960s, Mooney recalled, DC was "getting into the illustrative type of art then, primarily Neal Adams , and they wanted to go in that direction. Towards the end there I picked up on it and I think my later ''Supergirl'' was quite illustrative, but not quite what they wanted. I knew the handwriting was on the wall, so I was looking around.... The reason I hadn’t worked at Marvel for all those years was because they didn’t pay as well as DC. ... I think at that time was $30 [a page when I was getting closer to $50 at DC". Spider-Man and Marvel By now, however, the rates were closer, and Mooney jumped ship. Marvel editor Stan Lee had him work with '' The Amazing Spider-Man '' Penciler John Romita . Mooney would go on to ink a classic run of ''Amazing Spider-Man'' (#65, 67-88; Oct. 1968, Dec. 1968 - Sept. 1970), which he recalled as "finalising it over John’s layouts". Mooney, who combined a slick, polished line with a down-to-earth, Everyman feel, also embellished John Buscema 's pencils on many issues of '' The Mighty Thor ''. As a penciler, Mooney did several issues of ''Peter Parker, the Spectacular Spider-Man'', as well as Spider-Man stories in '' Marvel Team-Up '', and he both penciled and inked issues of writer Steve Gerber 's '' Man-Thing '' and the entire 10-issue run of Gerber's cult-hit '' Omega The Unknown '', among many other titles. Mooney also worked on Marvel-related wrote the ones that came later". In 1975, Mooney, wanting to move to Florida , negotiated a 10-year contract with Marvel to supply artwork from there. "It was a good deal. The money wasn't too great, but I was paid every couple of weeks, I had insurance, and I had a lot of security that most freelancers never had". Later career In Florida, Mooney has worked on Adventure Publications' '' Star Rangers '' comics (1987-88); '' Superboy '' for DC; '' Anne Rice 's The Mummy'' for Millennium Publications; ''Soul Searchers''; an '' Elvira '' comic book for Claypool Comics ; a retro "Lady Supreme" story for Awesome Entertainment; and commissioned pieces. FOOTNOTES REFERENCES
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