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Issues cost $1. The lack of foreign pricing information on the cover suggests that the magazine may not have been commonly available outside the US. |
Issues cost $1. The lack of foreign pricing information on the cover suggests that the magazine may not have been commonly available outside the US. |
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==Creative team== |
==Creative team== |
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− | Like the comic book, [[George Wildman]] was the sole editor of this publication as well. This tended to ensure that the two publications shared some of the same creative staff. It also seems to have allowed the two publications to clearly aim towards different markets. While some of the art from this magazine was later used to illustrate text stories in the comic book, in general the two publications |
+ | Like the comic book, [[George Wildman]] was the sole editor of this publication as well. This tended to ensure that the two publications shared some of the same creative staff. It also seems to have allowed the two publications to clearly aim towards different markets. While some of the art from this magazine was later used to illustrate text stories in the comic book, in general the two publications created their own unique work. |
− | While names associated with the comic book — like writers [[Joe Gill]] and [[Nicola Cuti]] and artists [[Jack Sparling]] and [[Neal Adams]] — did contribute to the magazine, they were not quite so dominant on this publication as they were on the comics. A great deal of the writing chores were taken here by [[Mike Pellowski]], and a surprising amount of the interior art was farmed out to a sub-contractor |
+ | While names associated with the comic book — like writers [[Joe Gill]] and [[Nicola Cuti]] and artists [[Jack Sparling]] and [[Neal Adams]] — did contribute to the magazine, they were not quite so dominant on this publication as they were on the comics. A great deal of the writing chores were taken here by [[Mike Pellowski]], and a surprising amount of the interior art was farmed out to a sub-contractor, [[Continuity Associates]]. This makes it difficult to place an individual's name on most of the art seen in the magazine. |
[[Category:Magazines|Six]][[Category:Comics|Six]] |
[[Category:Magazines|Six]][[Category:Comics|Six]] |
Revision as of 08:51, 20 November 2007
- You may be looking for one of the other comic publications listed at The Six Million Dollar Man (comics)
The Six Million Dollar Man was a magazine released by Charlton Comics. It ran for seven issues between July 1976 and November 1977. It was a mixture of comic adventures and behind-the-scenes articles about the production of the television show.
It was aimed at a slightly older audience than The Six Million Dollar Man comic book, and thus Steve was portrayed in a somewhat grittier light, akin to his depiction in Cyborg.
Format
The publication was of the standard American magazine format. It had a glossy cover like a magazine, but standard newsprint interior like a comic book of the era. Issues had around 60 pages, including the covers. Unlike the comic book of the same name, the interiors were entirely monochromatic.
Price
Issues cost $1. The lack of foreign pricing information on the cover suggests that the magazine may not have been commonly available outside the US.
Creative team
Like the comic book, George Wildman was the sole editor of this publication as well. This tended to ensure that the two publications shared some of the same creative staff. It also seems to have allowed the two publications to clearly aim towards different markets. While some of the art from this magazine was later used to illustrate text stories in the comic book, in general the two publications created their own unique work.
While names associated with the comic book — like writers Joe Gill and Nicola Cuti and artists Jack Sparling and Neal Adams — did contribute to the magazine, they were not quite so dominant on this publication as they were on the comics. A great deal of the writing chores were taken here by Mike Pellowski, and a surprising amount of the interior art was farmed out to a sub-contractor, Continuity Associates. This makes it difficult to place an individual's name on most of the art seen in the magazine.