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CU Boulder alumnus Patrick Hamilton discusses his new book on influential comic book artist George Pérez during Hispanic Heritage Month

When alumnus  was growing up, he, like many kids, found comfort in comic books. “I’m an almost lifelong comics fan, and specifically a fan of ‘Avengers’,” Hamilton says.

As Hamilton continued enjoying comics and learning more about the people behind them, he eventually came across the name George Pérez. It’s a name you may not immediately recognize, and that’s a key point Hamilton makes in his new book, , which hit shelves earlier this year.  

“The main argument of the book [is] that Pérez had a larger impact on comics than he’s generally been given credit for,” says Hamilton, an English professor at Misericordia University in Pennsylvania who earned his PhD in English at the �鶹��Ƶ in 2006.

CU Boulder alumnus Patrick Hamilton (PhDEngl'06), a lifelong comics fan, highlighted the groundbreaking work of Marvel Comics and DC Comics artist George Pérez in an eponymous new biography.

But in the comic book world, the name George Pérez and his work turn heads—not just for his impact on the art, style and story structure of comics, but because he was one of the first Hispanic artists to become a major name in the industry and helped pave the way for greater diversity in the field.

Pérez, who worked both as an artist and writer starting in the 1970s, played a significant role in blockbuster series such as  and  for . In the 1980s, he created , which became a top-selling series for publisher . And he developed DC Comic's landmark limited series , followed by relaunching .

Hamilton says Pérez is also “pretty synonymous” with large event titles, most prominently DC Comic’s revamp in 2011 and Marvel’s .

“And he developed a reputation for a dynamic and hyper-detailed style, particularly in terms of the number of characters and details he’d put into a page, that was highly regarded and ultimately influential in the … 1970s and 1980s and beyond.”

Hamilton says he sees his book as attempting to expand Pérez’s legacy.

“Despite his acclaim and prominence, he hasn’t really been seen as an artist that contributed to the style and genre of comics in ways artists before him … are seen,” he says. “I argue in the book that Pérez made contributions to the style of comics, not only in the layout of the page and what effects that could achieve, but especially in his way of building what we would call the story world around the characters, where he embraced the possibilities for the fantastic within comics.”

Paving the way

The book also speaks to Pérez’s interest in representations of race, disability and gender, the latter of which Hamilton says Pérez consciously strove to improve in his art over his career.

Artist George Pérez was reknown for his work with both DC Comics and Marvel Comics. (Photos: DC Comics, left, and Marvel Comics, right)

Hamilton adds that he believes a lot of other Black, Indigenous and artists of color working today likely see Pérez as “an influence and as carving out a space” for them within the industry.

“I think you can look at the significant number of Hispanic and Latinx creators working in comics today—many of them as artists—and see them as following, in some cases quite consciously, in Pérez’s footsteps.”

He adds that Pérez did much to help define the look and feel of modern superhero comics in the 1970s and 1980s, as did another Latino artist, José Luis García-López.

“Garcia-Lopez, who, among other things, created the official reference artwork for DC Comics that is still much in use today. So, you have two Latino creators working in the late 20th century, when the comic book industry was even more predominantly white than it is today, and shaping the look of it.” 

Hamilton says one of the more interesting findings about Pérez that meshes with how Pérez has been overlooked is a kind of “invisibility or transparency” in his art.

“It [his art] is never meant to overshadow and … is always in service to the story or narrative. What surprised me is how much this was a conscious choice on Pérez’s part, that he never wanted his art to draw attention to itself in a way that was detrimental to the overall storytelling. It’s kind of ironic, and … surprising, because Pérez does have one of the most recognizable styles in comics, but his goal as an artist was always to do what’s best for the realization of the story first.”

at age 67. You can see examples of his and his .

Top image: A group scene of DC Comics characters drawn by George Pérez (Photo: )

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