Poor Gold Key Comics. Despite their stewardship of tons of familiar titles, they always ranked a tier (or three) below the A-list. While Marvel and DC had all the high-octane superhero star power, Gold Key largely got by on licensing properties from other media. They did comic book tie-ins with Hanna-Barbera, Warner Brothers, and Disney cartoons, and brought TV shows like The Man from U.N.C.L.E., The Twilight Zone, H.R. Pufnstuf (!!!), Dark Shadows and Star Trek to the comics racks. Amusingly, some of their tie-in comics outlived by years the original TV series’ upon which they were based, but the company’s fortunes waned throughout the 1970s, and after they lost the lucrative Trek license to Marvel in 1979—just months before that franchise’s cinema revival—their days were numbered. Gold Key was done for by the mid 1980s.

But though they were never the heaviest hitters, Gold Key weren’t wanting for talent. A young Frank Miller’s first pro gig was illustrating a story in The Twilight Zone, and ‘60s-‘80s sitcom deity Garry Marshall wrote scripts for some of their titles. And they had cover painter George Wilson. It’s is beyond frustrating how difficult biographical data on Wilson is to come by. Despite being as prolific as he was accomplished, he has no Wikipedia entry, and searches for his work are complicated by the existence of a pulp novel cover illustrator by the same extremely common name. But his obscurity—and I get that he was basically a jobber, but still—does nothing to diminish his gifts, and it’s just all kindsa wrong that as yet there’s been no big, lavish, coffee-table book collecting his work. He produced incredible numbers of vivid, exciting, superbly designed, impeccably rendered, ridiculously fun cover paintings for Gold Key’s sci-fi, adventure, and horror titles, including many for Star Trek. A lot of the covers that weren’t by Wilson were thrown-together photo illustrations. We suspect you’ll agree that these are far preferable.
 

 

 

 
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