Now blogging at Sequart!

Greetings!

For some time I have been preparing a series of essays about Christopher Priest's Black Panther comics! Happily, the first of these is now available to read at Sequart! In this first essay I'm looking at how Priest's character Everett K. Ross is useful in demonstrating aspects of white privilege. I hope you enjoy it!

Punisher (season 2) creator credits

I've finally written up creator credits for the 2nd season of Netflix's Punisher. Hey, did you ever thinnk Leon: The Professional would be improved with a 13-hour runtime? Good news--!

Corrections and additions are always welcome. Check out my full index here.

Ross Andru: co-creator of the Punisher, a war veteran who becomes a vigilante, wearing a black costume with white skull design on his chest and wielding vast arsenal of firearms and explosives in a one-man war on crime (Amazing Spider-Man #129, 1974); of Jigsaw, the Punisher's greatest enemy, a criminal who survived a near-fatal encounter with the Punisher but had his face slashed apart by glass, disfiguring him (Amazing Spider-Man #162, 1976); of the Punisher maintaining safehouses; the Punisher carrying his arsenal within a custom van (Giant-Size Spider-Man #4, 1975)

Gerry Conway: co-creator of the Punisher, a war veteran who becomes a vigilante, wearing a black costume with white skull design on his chest and wielding vast arsenal of firearms and explosives in a one-man war on crime (Amazing Spider-Man #129, 1974); of Frank Castle becoming the Punisher after happening upon criminals in a park who set off a gunfight which killed his wife Maria, daughter Lisa and son Frank Jr. (Marvel Preview #2, 1975); of the Punisher maintaining safehouses; the Punisher carrying his arsenal within a custom van (Giant-Size Spider-Man #4, 1975)

Mike Baron: co-creator of the Punisher wearing a trenchcoat overtop his costume; of Curtis Hoyle, a one-time member of Frank Castle's unit who became used in recruiting former soldiers for a non-army operation (Punisher #1, 1987); of Frank Castle using the name "Castiglione" (Punisher War Journal #25, 1990)

John Romita: co-creator of the Punisher, a war veteran who becomes a vigilante, wearing a black costume with white skull design on his chest and wielding vast arsenal of firearms and explosives in a one-man war on crime (Amazing Spider-Man #129, 1974)

Klaus Janson: co-creator of the Punisher wearing a trenchcoat overtop his costume; of Curtis Hoyle, a one-time member of Frank Castle's unit who became used in recruiting former soldiers for a non-army operation (Punisher #1, 1987)

Len Wein: co-creator of Jigsaw, the Punisher's greatest enemy, a criminal who survived a near-fatal encounter with the Punisher but had his face slashed apart by glass, disfiguring him (Amazing Spider-Man #162, 1976)

Tony DeZuniga: co-creator of Frank Castle becoming the Punisher after happening upon criminals in a park who set off a gunfight which killed his wife Maria, daughter Lisa and son Frank Jr. (Marvel Preview #2, 1975)

Jason Aaron: co-creator of the Punisher battling the Mennonite, a zelous Christian hitman with a dying wife (PUnisherMax #3, 2010)

Steve Dillon: co-creator of the Punisher battling the Mennonite, a zelous Christian hitman with a dying wife (PUnisherMax #3, 2010)

John Ostrander: co-creator of the Punisher being tricked into thinking he killed innocent people, violating his moral code (Double Edge: Omega, 1995)

Kim Yale: co-creator of the Punisher being tricked into thinking he killed innocent people, violating his moral code (Double Edge: Omega, 1995)

Doug Wheatley: co-creator of the Punisher being tricked into thinking he killed innocent people, violating his moral code (Double Edge: Omega, 1995)

Bill Everett: co-creator of Karen Page, a blonde legal secretary employed by Nelson & Murdock (Daredevil #1, 1964)

Stan Lee: co-creator of Karen Page, a blonde legal secretary employed by Nelson & Murdock (Daredevil #1, 1964)

Marc Guggenheim: co-creator of Brett Mahoney, a police detective (Marvel Comics Presents #1, 2007)

Bil Mantlo: co-creator of Frank Castle suffering from mental problems (Spectacular Spider-Man #81, 1983)

Al Milgrom: co-creator of Frank Castle suffering from mental problems (Spectacular Spider-Man #81, 1983)

Dave Wilkins: co-creator of Brett Mahoney, a police detective (Marvel Comics Presents #1, 2007)

Mark Texeira: co-creator of Frank Castle using the name "Castiglione" (Punisher War Journal #25, 1990)

Gene Colan: co-creator of Turk Barrett, a gangster who fights Daredevil (Daredevil #69, 1970)

Roy Thomas: co-creator of Turk Barrett, a gangster who fights Daredevil (Daredevil #69, 1970)

Dale Eaglesham: co-creator of Billy Russo, Jigsaw's true name (Punisher: Year One #3, 1995)

Andy Lanning: co-creator of Billy Russo, Jigsaw's true name (Punisher: Year One #3, 1995)

Dan Abnett: co-creator of Billy Russo, Jigsaw's true name (Punisher: Year One #3, 1995)

Red, Red Wine

"Red Wine" is a 1930 short story written by Lawrence Blochman. You probably don't know his name, but he was a pretty busy mystery writer from the 30s to the 60s. "Red Wine" is his story which I'm most familiar with, thanks to its radio adaptations. The story was adapted for Escape and appeared on that series twice in a single year -- first on February 26, 1949, then again on August 11, 1949. The first adaptation starred Jeff Chandler as the lead and the second starred Willard Waterman.

Set in Borneo the story features an investigator hunting a killer across the world. The trail leads him to a particular outpost in Borneo, but there are three white men living there - together - and none of them match the description of the killer. It's possible that the killer has altered his hair, but it's also quite likely that all three men have something to hide and won't tell the investigator the truth. The detective finally tricks the killer into revealing himself by hosting a dinner. As the men had complained about the lack of ice, as a treat he provides ice for their drinks. When one man complains about the ice ruining their red wine it marks him as a gourmet -- and the killer was a gourmet.

"Red Wine" is a somewhat unconventional mystery story. There is no gradual reveal of the killer, no bread crumb trail of clues. The whole point of the story is that each of three men are viable suspects, there is no reason to favour one over the other. Consequently, when you reach the climax, you're bound to go, "Wait, which one of three was he?" but it doesn't matter. The point of the story is, after all, the "Red Wine" -- the clever solution the detective comes up with.

The Escape adaptation is quite faithful to Blochman's original text. I usually prefer the original adaptation of a story over the later one, but I give a slight edge to the 2nd version with Willard Waterman, as I prefer his performance over Chandler's. But they're both great.

The Jeff Chanlder version can be heard on the Internet Archive, and likewise the Willard Waterman version, right here.

Much to my surprise, three years before the twin Escape adaptations there was another version of "Red Wine" heard on radio. This one appeared on the Molle Mystery Theatre on March 8, 1946, but it is extremely different from the short story and, frankly, a very unfriendly adaptation. The narrative moves at a very different pace, opening with the detective already in Borneo and having been investigating for some time, rather than opening with his arrival in Borneo as in the original text.

Where the episode becomes a downright unfair adaptation is the climax. After the gourmet has been found out thanks to the red wine, the story keeps going as the other two suspects return home by rowboat. Suddenly, one reveals he's the actual killer! But then the other man reveals he's the detective's undercover partner! The end. It's an extremely lousy climax. Again, the point of this story is that the three men are equally viable suspects and that the red wine is the means to set them apart. Revealing that the red wine trick doesn't work is against the spirit of the story. Revealing that one of the suspects was actually the hero's sidekick is a tremendous cop-out.

You can hear this miserable adaptation on the Internet Archive.

So I definitely don't recommend the Molle Mystery Theatre adaptation. If you'd like to see the story done on film, there is a good television version from Four Star Playhouse starring David Niven.

Creeper, Creeper, Creeper. You give ME the creeps!

Joseph Ruscoll was a pretty busy radio script author in the 1940s. Many of his scripts were used on mystery programs, such as the four I'm about to discuss -- four series which I don't often talk about, as they're a llittle more obscure. Late in the 1940s Ruscoll wrote a few scripts for Suspense but most of his work wound up in these lesser-known places. He is not a remembered author today.

However! Ruscoll wrote one script which became seemingly the biggest achievement of his career, considering how frequently it was retold. "The Creeper" first appeared on March 29, 1946 as an episode of The Molle Mystery Theater on NBC. If you consider Suspense to be the epitome of great radio mystery drama (and I do), then The Molle Mystery Theater comes up a little short. Although NBC had some fine radio players, I find that CBS had the best in radio voice talent. To its credit, The Molle Mystery Theater put a lot of effort into adapting famous mystery stories for radio. Since by the time the series was on the air Suspense had mostly given up on adaptations, it was a good little niche to exploit. (I have some problems with how they adapted those stories, but that's another blog post, coming soon)

"The Creeper" is a strong drama about a killer who has been targeting beautiful women and gains access to their homes through unknown means. The so-called 'Creeper' leaves behind the message: "For heaven's sake, catch me before I kill more. I cannot control myself." The story's heroine is a housewife, married to a police officer who has recently been suspended from the force. After an argument over breakfast, the husband heads to a bar and talks about his wife and the Creeper to a down-on-his-luck reporter, whom we learn was once infatuated with the officer's wife. The reporter has a theory about a pattern to the Creeper's killings and he thinks the officer's wife could be next. The action returns to the wife as she tries to go shopping, but she becomes afraid of everyone she meets, fearing they could be the Creeper. After a neighbour suggests the Creeper could be a woman, she thinks she can't trust women either. The woman is afraid of a clerk, a neighbour, a manager, an elevator boy and then the reporter, who tries to use her as bait for the Creeper before she forces him out of her apartment. All this time she has been trying to get a locksmith to fix the broken deadbolt on her door. Just as the locksmith arrives, she receives a frantic phone call from her husband: the Creeper is believed to be a locksmith! The Creeper kills her and the reporter narrates the wrap-up to her death.

You can hear the Molle Mystery Theater version at the Internet Archive. The full cast is not given but the reporter sounds a lot like Richard Widmark to me. It's a very strong piece of radio drama, much more intense than the usual fare heard on that series. Joseph Ruscoll clearly liked his script a lot, given that he sold it three more times to radio and even tried to sue 20th Century Fox for releasing a 1949 film titled The Creeper (it had nothing in common with his story).

The same year as the Molle Mystery Theater original, Ruscoll brought his play to another mystery series he was contributing to: the transcribed program Murder at Midnight. This adaptation is not quite as polished as the original, but follows the original script faithfully. The show opens by noting this story had been told on radio before, but (naturally) does not name the competing program. You can hear this adaptation on the Internet Archive.

Three years later, Ruscoll was telling a few stories on NBC's Murder by Experts. This is an odd program - it's very well-produced, but it promoted itself as featuring stories selected by the greatest mystery authors - yet pretty often those stories were brand-new tales. One begins to question the premise of the series. Their version of "The Creeper" has a brief new scene to open the story where another woman is killed by the Creeper, but otherwise it's much like the other versions. You can hear it at the Internet Archive.

Four years later, NBC had a series called The Chase. I have to say, I have tried many, many times to get into The Chase -- it has an extremely loose premise which just about any kind of 'thriller' story can fit. It could have been NBC's answer to Escape! But like most of NBC's 1950s dramatic programs, it has a ton of repetitive musical bridges which are the audible equivalence of wallpaper. They don't enhance the productions at all. This is still a fine version of the story, but the music bridges make it feel inferior. Hear it for yourself at the Internet Archive.

Even as Ruscoll's story was being adapted for radio, television had come in. There was an adaptation on the TV version of Suspense in 1949 and on The Web in 1950, but I haven't been able to see either. However, in 1956 came what is probably the best-known version of "The Creeper" -- it's certainly where I first saw the story: Alfred Hitchcock Presents. The television adaptation changes quite a bit from the original -- many of the men who serve as red herrings are removed, the "for heaven's sake" message is gone, the heroine is a blonde instead of a redhead, the Creeper is not thought to be a woman, the reporter's closing remarks are omitted. It's a great adaptation, particularly how the Creeper appears: he's unseen except for his hands as they choke the life out of the heroine.

Ruscoll died a few months after "The Creeper" aired, but 30 years later Alfred Hitchcock Presents was back on television in a new version which had nothing to do with the then-dead Hitchcock and which adapted many stories from the 1950s-60s series. I don't really think a lot of the 1980s series, especially for the ways in which they altered the original stories. But regardless, I watched the 1986 version of "The Creeper", which starred Karen Allen.

Much to my surprise, my highest recommendation out of the six versions I've experienced of "The Creeper" goes to the most recent one! It's extremely different from Ruscoll's original script, keeping only the premise. But it makes one change which I wholeheartedly welcome: the heroine is in the forefront throughout the episode (until she dies). As a Suspense fan, I feel these thrillers are more intense when they don't divert from the protagonist's point-of-view, and the scenes in the earlier versions of "The Creeper" where the husband and reporter met up in the bar were unfortunate decisions that only exist to exposit more about the Creeper. It's ultimately a story about a woman alone in her apartment experiencing feelings of paranoia. If Ruscoll had made that the entire script, he would have penned one of the best thrillers of the 1940s!

There is also an unfortunate sense in Ruscoll's script that the heroine's death is some kind of disproportionate retribution. Mention is made that the heroine is flirtatious and the husband is suspicious of her. Certainly the reporter is attracted to her, and the elevator boy grumbles that she shouldn't be "so nice" to men like him. But this isn't otherwise supported by Ruscoll's script. When the reporter barges in on the heroine, she's not the least bit glad to see him -- because she thinks he's the Creeper. She drives him out; she's not some "loose woman" who should be punished.

And this brings me back to the 1986 version, where the heroine isn't a married woman, just a single woman in an apartment. She's trying to get away on a trip to Rome when her neighbour is killed by the Creeper. She had left her apartment keys with the neighbour so she could water her plants and she's terrified when she sees the keys are missing from the dead woman's apartment. The heroine tries to get a locksmith in to change her locks before she leaves to Rome. At the same time, a man who dated her once has begun stalking her.

The 1986 version really gets across the heroine's feelings of paranoia better than any of the earlier versions. As a lone woman, the audience is better able to sense her isolation.

The only part of the 1986 version I'm not crazy about is what happens after the heroine dies: as the Creeper gets into his car to leave, the dead woman's stalker appears and shoots the Creeper in the chest; the Creeper runs him over with the car before dying. It does serve to punish the Creeper, but I'm not sure the crazy stalker is the right person to meet out vengeance. Then again, the stalker dies too. I guess it's a value-neutral outcome? It certainly ties up all the loose ends while at the same time feeling extremely bleak; all the significant characters are dead! Good night.

So there you have it; if you only listen to one radio version of "The Creeper", go with the Molle original. And it you prefer TV, I think you'll be pleasantly surprised by the 1986 incarnation.

RIP: Ennio Morricone

Film composer Ennio Morricone passed away today, aged 91. He's probably best-known for his score to The Good, the Bad, and the Ugly (1966). Usually when I saw his name in books and articles about film, it was that particular score which was being referenced.

And yet he did so. Much. More. Than. That. In fact, IMDB lists 520 scores to his name! Two of his Italian films were mocked on Mystery Science Theater 3000: Operation Double 007 (1967) and Danger: Diabolik (1968).

My personal favourites are his scores to Once Upon a Time in the West (1968), The Thing (1982), The Mission (1986), The Untouchables (1987)

Rest in peace, Sig. Morricone.

A certain tribute to Joe Sinnott

I missed that this had gone up -- back on the day of Joe Sinnott's death I wrote a new profile for the Marvel Appendix, and they got it up right away but I didn't notice it until just now. It's a profile of a one-shot character, Papa Roberti. I hope you enjoy the tribute.

Inhumans (2017) creator credits

I had heard the 2017 Inhumans series was not very good, but I avoided judgement until I had seen for myself. Now I have and (phew!) it's pretty awful. Not as bad as the showrunner's other super hero series, Iron Fist, but one of the worst television adaptations of a Marvel Comics property, easily.

Sorry, Inhumans. You never wanted to be a major Marvel property! You were happiest when revelling in obscurity. Well, good news, it's back to obscurity for you!

The full list of my Marvel creator credits is here.

Stan Lee: co-creator of Maximus possessing Inhuman abilities which were rendered dormant (Amazing Adventures #1, 1970); of the title "Make Way for Medusa" related to the Inhumans (Amazing Spider-Man #62, 1968); of a city on Earth's moon which has a breathable atmosphere (Fantastic Four #13, 1963); of Medusa, a purple-clad woman with super strong red hair (Fantastic Four #36, 1965); of Gorgon, a superhuman soldier related to Medusa who has cloven hooves instead of feet; Gorgon causing seismic shockwaves with his hooves; of the title "The Gentleman's Name Is Gorgon" related to the Inhumans (Fantastic Four #44, 1965); of the Inhumans, a sub-species of humanity who live apart from humans, most possessing superhuman powers; of Black Bolt, the silent monarch of the Inhumans who has superhuman abilities; of Gorgon and Medusa as two of the Inhumans; of Karnak, a member of the Inhumans royal family whose mind can seek out the flaws in any object then exploit those flaws with his martial arts; of Triton, a member of the Inhumans' royal family who has green skin and amphibious powers; of Crystal, Medusa's sister, a member of the Inhumans' royal family who has elemental powers enabling her to generate flames and take control of the weather; of Lockjaw, a massive Inhuman dog who serves as Crystal's pet; Lockjaw's ability to generate space-time portals; of the Inhumans' royal family being forced to live in exile amongst humanity (Fantastic Four #45, 1965); of the title "Those Who Would Destroy Us" related to the Inhumans (Fantastic Four #46, 1966); of Maximus, brother of Black Bolt who jealously wants to usurp his rule; Maximus having no evident superhuman abilities; Maximus seizing control of Attilan in a coup; the royal family overthrowing Maximus' coup; of Attilan, the hidden city of the Inhumans; of the Inhumans enforcing a caste system within their society, forcing some to labour as slaves; of Maximus sending his agents to pursue the exiled royal family on Earth (Fantastic Four #47, 1966); of Black Bolt being in love with Medusa (Fantastic Four #48, 1966); of Maximus being jailed within Attilan (Fantastic Four #52, 1966); of Black Bolt communicating to the Inhumans using sign language; of Medusa as Black Bolt's official interpreter (Fantastic Four #54, 1966); of Black Bolt's voice being incredibly destructive (Fantastic Four #59, 1967); of Maximus lusting after Medusa (Fantastic Four #82, 1969); of the title "Divide and Conquer" related to the Inhumans (Fantastic Four Annual #5, 1967); of the Terrigen Mist, superhuman crystals which grant the Inhumans their abilities (Thor #147, 1967); of Agon and Rynda, Black Bolt and Maximus' parents; of the title "And Finally: Black Bolt" related to the Inhumans (Thor #148, 1968); of Black Bolt being imprisoned in isolation to protect Attilan from his destructive voice; of Medusa visiting Black Bolt in his cell when they were teenagers (Thor #149, 1968); of Triton being stranded amongst humans during a mission for Black Bolt (Thor #150, 1968)

Jack Kirby: co-creator of Maximus possessing Inhuman abilities which were rendered dormant (Amazing Adventures #1, 1970); of a city on Earth's moon which has a breathable atmosphere (Fantastic Four #13, 1963); of Medusa, a purple-clad woman with super strong red hair (Fantastic Four #36, 1965); of Gorgon, a superhuman soldier related to Medusa who has cloven hooves instead of feet; Gorgon causing seismic shockwaves with his hooves; of the title "The Gentleman's Name Is Gorgon" related to the Inhumans (Fantastic Four #44, 1965); of the Inhumans, a sub-species of humanity who live apart from humans, most possessing superhuman powers; of Black Bolt, the silent monarch of the Inhumans who has superhuman abilities; of Gorgon and Medusa as two of the Inhumans; of Karnak, a member of the Inhumans royal family whose mind can seek out the flaws in any object then exploit those flaws with his martial arts; of Triton, a member of the Inhumans' royal family who has green skin and amphibious powers; of Crystal, Medusa's sister, a member of the Inhumans' royal family who has elemental powers enabling her to generate flames and take control of the weather; of Lockjaw, a massive Inhuman dog who serves as Crystal's pet; Lockjaw's ability to generate space-time portals; of the Inhumans' royal family being forced to live in exile amongst humanity (Fantastic Four #45, 1965); of the title "Those Who Would Destroy Us" related to the Inhumans (Fantastic Four #46, 1966); of Maximus, brother of Black Bolt who jealously wants to usurp his rule; Maximus having no evident superhuman abilities; Maximus seizing control of Attilan in a coup; the royal family overthrowing Maximus' coup; of Attilan, the hidden city of the Inhumans; of the Inhumans enforcing a caste system within their society, forcing some to labour as slaves; of Maximus sending his agents to pursue the exiled royal family on Earth (Fantastic Four #47, 1966); of Black Bolt being in love with Medusa (Fantastic Four #48, 1966); of Maximus being jailed in Attilan (Fantastic Four #52, 1966); of Black Bolt communicating to the Inhumans using sign language; of Medusa as Black Bolt's official interpreter (Fantastic Four #54, 1966); of Black Bolt's voice being incredibly destructive (Fantastic Four #59, 1967); of Maximus lusting after Medusa (Fantastic Four #82, 1969); of the title "Divide and Conquer" related to the Inhumans (Fantastic Four Annual #5, 1967); of the Terrigen Mist, superhuman crystals which grant the Inhumans their abilities (Thor #147, 1967); of Agon and Rynda, Black Bolt and Maximus' parents; of the title "And Finally: Black Bolt" related to the Inhumans (Thor #148, 1968); of Black Bolt being imprisoned in isolation to protect Attilan from his destructive voice; of Medusa visiting Black Bolt in his cell when they were teenagers (Thor #149, 1968); of Triton being stranded amongst humans during a mission for Black Bolt (Thor #150, 1968)

Paul Jenkins: co-creator of Karnak wearing facial tattoos; of Maximus wearing a black suit (Inhumans #1, 1998); of the act of Terrigenesis being a public display as young Inhumans come of age (Inhumans #2, 1998); of Maximus shaving Medusa's hair to depower her (Inhumans #7, 1999); of Black Bolt feigning inaction while secretly plotting against his adversaries (Inhumans #12, 1999)

Jae Lee: co-creator of Karnak wearing facial tattoos; of Maximus wearing a black suit (Inhumans #1, 1998); of the act of Terrigenesis being a public display as young Inhumans come of age (Inhumans #2, 1998); of Maximus shaving Medusa's hair to depower her (Inhumans #7, 1999); of Black Bolt feigning inaction while secretly plotting against his adversaries (Inhumans #12, 1999)

Jonathan Hickman: co-creator of Eldrac, an Inhuman who appears as a giant head, has the ability to teleport others (Fantastic Four #577, 2010); of Terrigen Mist being spread on Earth, causing humans to transform into Inhumans; of the philosophy of Terrigen revealing something of a person's true self (Infinity #4, 2013)

Roy Thomas: co-creator of the title "Something Inhuman This Way Comes" related to the Inhumans; of Black Bolt accidentally killing his parents because of Maximus' manipulations; of Maximus forming an alliance with the Inhumans' enemies (Avengers #95, 1972)

Neal Adams: co-creator of the title "Something Inhuman This Way Comes" related to the Inhumans; of Black Bolt accidentally killing his parents because of Maximus' manipulations; of Maximus forming an alliance with the Inhumans' enemies (Avengers #95, 1972)

Ann Nocenti: co-creator of the Inhumans' Genetic Council which determines how to employ the Terrigen Mists and other matters related to breeding and genetic engineering (Marvel Graphic Novel #39, 1988)

Bret Blevins: co-creator of the Inhumans' Genetic Council which determines how to employ the Terrigen Mists and other matters related to breeding and genetic engineering (Marvel Graphic Novel #39, 1988)

Jerome Opena: co-creator of Terrigen Mist being spread on Earth, causing humans to transform into Inhumans; of the philosophy of Terrigen revealing something of a person's true self (Infinity #4, 2013)

Mark Gruenwald: creator of Auron, one of the Inhumans (Official Handbook of the Marvel Universe #6, 1986); co-creator of Black Bolt and Medusa being married (Fantastic Four Annual #18, 1984)

Warren Ellis: co-creator of Karnak's abilities causing him to philosophize, seeing "the flaw in everything"; of Karnak wearing a green hoodie and bandages on his hands (Karnak #1, 2015)

Gerardo Zaffino: co-creator of Karnak's abilities causing him to philosophize, seeing "the flaw in everything"; of Karnak wearing a green hoodie and bandages on his hands (Karnak #1, 2015)

John Byrne: creator of the Inhumans' city Attilan being located on Earth's moon (Fantastic Four #240, 1982); of Black Bolt and Medusa being married (Fantastic Four Annual #18, 1984)

Dale Eaglesham: co-creator of Eldrac, an Inhuman who appears as a giant head, has the ability to teleport others (Fantastic Four #577, 2010)

Skip Dietz: co-creator of Kitang, a member of the Inhumans' Genetic Council (Inhumans: The Great Refuge #1, 1995)

Robert Brown: co-creator of Kitang, a member of the Inhumans' Genetic Council (Inhumans: The Great Refuge #1, 1995)

Sean McKeever: co-creator of human scientists experimenting on Inhumans, hoping to cure human ailments (Inhumans #10, 2004)

David Ross: co-creator of human scientists experimenting on Inhumans, hoping to cure human ailments (Inhumans #10, 2004)

Mark Bright: co-creator of Black Bolt and Medusa being married (Fantastic Four Annual #18, 1984)

Doug Moench: co-creator of Iridia, a female Inhuman with butterfly-like wings (Inhumans #1, 1975)

George Perez: co-creator of Iridia, a female Inhuman with butterfly-like wings (Inhumans #1, 1975)

Matt Fraction: co-creator of humans affected by terrigen transforming from within a coccoon (Inhumanity #1, 2013)

Olivier Coipel: co-creator of humans affected by terrigen transforming from within a coccoon (Inhumanity #1, 2013)

Tom DeFalco: co-creator of Pulssus, one of the Inhumans (Fantastic Four #398, 1995)

Paul Ryan: co-creator of Pulssus, one of the Inhumans (Fantastic Four #398, 1995)

John Romita: co-creator of the title "Make Way for Medusa" related to the Inhumans (Amazing Spider-Man #62, 1968)

Richard Starkings: creator of the Inhumans logo (Inhumans #1, 1998)