Andy Helfer | |
---|---|
Born | Andrew Helfer August 17, 1958 |
Nationality | American |
Area(s) | Writer, Editor |
Notable works | The Big Book Of Deadman The Shadow |
Awards | Eisner Award – Best Anthology 1995 The Big Book of Urban Legends |
Andrew Helfer (born August 17, 1958) [1] is an American comic book creator best known for his work as an editor and writer at DC Comics, where he founded the Paradox Press imprint.
Andy Helfer joined DC Comics in 1981 and assisted Joe Orlando in the special projects department. [2] He became editor of the Justice League of America title with issue #245 (December 1985) and oversaw the title's revamp into Justice League International in 1987 by Keith Giffen, J. M. DeMatteis, and Kevin Maguire. [3] Helfer edited The Man of Steel limited series by John Byrne and the subsequent relaunch of the Superman titles. [3] As a writer, Helfer collaborated with artist José Luis García-López on a Deadman limited series in 1986 [4] and with artist Bill Sienkiewicz on an ongoing series for The Shadow in the following year. [5] Following Sienkiewicz's departure from The Shadow, Kyle Baker became the artist on the series and he and Helfer also produced a two-issue Justice, Inc. series. [4] The Helfer-Baker run on The Shadow was cancelled in 1989 allegedly due to objections by Condé Nast, the character's owner, to the tone of the series. [6] Helfer wrote for the Superboy television series from 1988 to 1990. [7] As the editor of Paradox Press, Helfer oversaw the development of Max Allan Collins' series Road to Perdition and John Wagner's A History of Violence , both of which became successful films. In 2006, Helfer collaborated with artist Randy DuBurke on Malcolm X: A Graphic Biography (2006) [8] which has been recommended as part of a "Suggested Core List of Graphic Novel Titles for High School Students". [9] He wrote the Presidential Material: John McCain one-shot biographical comic book for IDW Publishing in 2008. [10]
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[T]he Helfer & company sequel which was abruptly cancelled on a cliffhanger as Condé Nast disliked the satirical tone Helfer had taken with his version.