Thomas was born in Jackson, Missouri, United States.[3] As a child, he was a devoted comic book fan, and in grade school he wrote and drew his own comics for distribution to friends and family. The first of these was All-Giant Comics, which he recalls as having featured such characters as Elephant Giant.[3][4] He was enrolled at a parochial Lutheran school[5] and attended St. Paul Lutheran Church in Jackson.[6] As an adult, Thomas is "not religious"[5] and has been described as a "lapsed Lutheran".[7][8] He graduated from Southeast Missouri State University in 1961 with a BS in education,[1] having majored in history and social science.[citation needed]
Thomas became an early and active member of Silver Age comic book fandom in the early 1960s.[9] Enthusiasm for the rebirth of superhero comics during that period led Jerry Bails to found the fanzineAlter Ego, and Thomas, then a high school English teacher, took over as editor in 1964.[10] Letters from Thomas appeared regularly in the letters pages of both DC and Marvel Comics, including Green Lantern #1 (August 1960), The Flash #116 (Nov. 1960), Fantastic Four #5 (July 1962), Fantastic Four #15 (June 1963), and Fantastic Four #22 (Jan. 1964).
Career
Marvel Comics
In 1965, Thomas moved to New York City to take a job at DC Comics as assistant to Mort Weisinger, then the editor of the Superman titles. Thomas said he had just accepted a fellowship to study foreign relations at George Washington University when he received a letter from Weisinger, "with whom I had exchanged one or two letters, tops", asking Thomas to become "his assistant editor on a several-week trial basis."[11] Thomas had already written a Jimmy Olsen script "a few months before, while still living and teaching in the St. Louis area," he said in 2005. "I worked at DC for eight days in late June and very early July of 1965"[12] before accepting a job at Marvel Comics. The Marvel "Bullpen Bulletins" in Fantastic Four #61 (April 1967) describes Thomas "admitting that he gave up a scholarship to George Washington University just to write for Marvel!"
This came after his chafing under the notoriously difficult Weisinger, to a point, Thomas said in 1981, that he would go "home to my dingy little room at, coincidentally, the George Washington Hotel in Manhattan, during that second week, and actually feeling tears well into my eyes, at the ripe old age of 24."[11] Familiar with editor and chief writer Stan Lee's Marvel work, and feeling them "the most vital comics around",[11] Thomas "just sat down one night at the hotel and – I wrote him a letter! Not applying for a job or anything so mundane as that – I just said that I admired his work, and would like to buy him a drink some time. I figured he just might remember me from Alter Ego."[11] Lee did, and phoned Thomas to offer him a Marvel writing test.[13]
The writer's test, Thomas said in 1998, "was four Jack Kirby pages from Fantastic Four Annual #2 ... [Stan Lee] had Sol [Brodsky] or someone take out the dialogue. It was just black-and-white. Other people like Denny O'Neil and Gary Friedrich took it. But soon afterwards we stopped using it."[13] The day after taking the test, Thomas was at DC, proofreading a Supergirl story, when Steinberg called asking Thomas to meet with Lee during lunch, where Thomas agreed to work for Marvel.[14] He returned to DC to give "indefinite notice" to Weisinger, but Weisinger ordered him to leave immediately and "I was back at Marvel less than an hour after I first left, and had a Modeling with Millie assignment to do over the weekend. It was a Friday."[14] His employment was announced in the "Bullpen Bulletins" section of Fantastic Four #47 (Feb. 1966) under the heading "How About That! Department" ("Roy's a fan who's made it!"). Thomas later described his early days at Marvel:
I was hired after taking [the] 'writer's test', and my first official job title at Marvel was 'staff writer'. I wasn't hired as an editor or assistant editor. I was supposed to come in 40 hours a week and write scripts on staff. ... I sat at this corrugated metal desk with a typewriter in a small office with production manager Sol Brodsky and corresponding secretary Flo Steinberg. Everybody who came up to Marvel wound up there, and the phone was constantly ringing, with conversations going on all around me. ... Almost at once, even though Stan proofed all the finished stories, he and Sol started having me check the corrections before they went out, and that would break up my concentration still further. ... [and] they kept asking me to do this or that, or questions like in which issue something happened, or Stan would come in to check something, because I knew a lot about Marvel continuity up to that time. ... It quickly became apparent to them, too, that the staff writer thing wasn't working, and Stan segued me over to being an editorial assistant, which immediately worked out better for all concerned.[15]
To that point, editor-in-chief Lee had been the main writer of Marvel publications, with his brother, Larry Lieber, often picking up the slack plotting of Lee-scripted stories. Thomas soon became the first new Marvel writer to sustain a presence at a time when comics veterans such as Robert Bernstein, Ernie Hart, Leon Lazarus, and Don Rico, and fellow newcomers Steve Skeates (hired a couple of weeks earlier) and O'Neil (brought in at Thomas' recommendation a few months later) did not. His Marvel debut was the romance-comics story "Whom Can I Turn To?" in the Millie the Model spin-off Modeling with Millie #44 (Dec. 1965) – for which the credits and the logo were inadvertently left off due to a production glitch, resulting in this being left off most credit lists.[16][17] Thomas' first Marvel superhero scripting was "My Life for Yours", the "Iron Man" feature in Tales of Suspense #73 (Jan. 1966), working from a Lee plot as well as a plot assist from secretary Steinberg. Thomas estimates that Lee rewrote approximately half of that fledgling attempt.[18]
Thomas' earliest Marvel work also included the teen-romance title Patsy and Hedy #104–105 (Feb.-April 1966), and two "Doctor Strange" stories, plotted by Lee and Steve Ditko, in Strange Tales #143–144 (April–May 1966). Two previously written freelance stories for Charlton Comics also saw print: "The Second Trojan War" in Son of Vulcan #50 (Jan. 1966) and "The Eye of Horus" in Blue Beetle #54 (March 1966).[19] "When Stan saw the couple of Charlton stories I'd written earlier in more of a Gardner Fox style, he wasn't too impressed," Thomas recalled. "It's probably a good thing I already had my job at Marvel at that point! I think I was the right person in the right place at the right time, but there are other people who, had they been there, might have been just as right."[20]
Thomas took on what would be his first long-term Marvel title, the World War II series Sgt. Fury and his Howling Commandos, starting with #29 (April 1966) and continuing through #41 (April 1967) and the series' 1966 annual, Sgt. Fury Special #2. He also began writing the mutant-superteam title [Uncanny] X-Men from #20–43 (May 1966 – April 1968), and, finally, took over The Avengers, starting with #35 (Dec. 1966), and continuing until 1972. That notable run was marked by a strong sense of continuity, and stories that ranged from the personal to the cosmic – the latter most prominently with the "Kree-Skrull War" in issues #89–97 (June 1971 – March 1972). Additional work included an occasional "Nick Fury, Agent of S.H.I.E.L.D" and "Doctor Strange" story in Strange Tales. When that title became the solo comic Doctor Strange, he wrote the entire run of new stories, from #169–183 (June 1968 – Nov. 1969), mostly with the art team of pencilerGene Colan and inkerTom Palmer.[19]
As Thomas self-evaluated in a 1981 interview, shortly after leaving Marvel for rival DC Comics, "One of the reasons Stan liked my writing ... was that after a few issues he felt he could trust me enough that he virtually never again read anything I wrote – well, at least not more than a page or two in a row, just to keep me honest."[21]
Thomas eloped in July 1968 to marry his first wife, Jean Maxey,[22] returning to work a day late from a weekend comic-book convention in St. Louis, Missouri. Thomas said in 2000 that Brodsky, in the interim, had assigned Doctor Strange to the writer Archie Goodwin, newly ensconced at Marvel and writing Iron Man, but Thomas convinced Brodsky to return it to him. "I got very possessive about Doctor Strange," Thomas recalled. "It wasn't a huge seller, but [by the time it was canceled], we were selling in the low 40 percent range of more than 400,000 print run, so it was actually selling a couple hundred thousand copies [but] at the time you needed to sell even more."[23] He eventually did have a Caribbean honeymoon, where he scripted the wedding of Hank Pym and Janet van Dyne in The Avengers #60 (Jan. 1969).[24]
Thomas, who had turned over X-Men to other writers, returned with issue #55 (April 1969) when the series was on the verge of cancellation.[25] While efforts to save it failed – the title ended its initial run with #66 – Thomas' collaboration with artist Neal Adams through #63 (Dec. 1969)[26] is regarded as a Silver Age creative highlight.[27] Thomas won the 1969Alley Award that year for Best Writer, while Adams and inkerTom Palmer, netted 1969 Alley Awards for Best Pencil Artist and Best Inking Artist, respectively.[28]
Thomas and artist Barry Smith launched Conan the Barbarian in October 1970,[29] based on Robert E. Howard's 1930s pulp-fictionsword-and-sorcery character. Thomas, who stepped down from his editorship in August 1974, wrote hundreds of Conan stories in a host of Marvel comics and the black-and-white magazines Savage Tales and The Savage Sword of Conan.[19] During that time, he and Smith also brought to comics Howard's little-known, sword-wielding woman-warrior Red Sonja, initially as a Conan supporting character. Comics historian Les Daniels noted that, "Conan the Barbarian was something of a gamble for Marvel. The series contained the usual elements of action and fantasy, to be sure, but it was set in a past that had no relation to the Marvel Universe, and it featured a hero who possessed no magical powers, little humor and comparatively few moral principles."[30]
In 1971, with Stan Lee and Gerry Conway, Thomas created Man-Thing and wrote the first Man-Thing story in color comics, after Conway and Len Wein had introduced the character in the black-and-white comics magazine Savage Tales.[19] Later that year, Thomas wrote the "Kree–Skrull War" storyline across multiple issues of The Avengers penciled variously by Sal Buscema, Neal Adams, and John Buscema.[31][32][33] Thomas was the first person other than Stan Lee to receive a writer's credit for The Amazing Spider-Man,[34] and he and artist Ross Andru launched the Spider-Man spin-off title Marvel Team-Up in March 1972.[35]
In 1972, when Lee became Marvel's publisher, Thomas succeeded him as editor-in-chief. Thomas also continued to script mainstream titles, including Marvel's flagship, Fantastic Four.[49] He launched such new titles as the "non-team" The Defenders,[50][51] as well as What If, a title that explored fictional alternate histories of Marvel's existing characters and stories. In addition, he indulged his love of Golden Age comic-book heroes in the World War II-set superhero series The Invaders.[19][52] He was instrumental in engineering Marvel's comic-book adaptation of the 1977 film Star Wars, without which, 1980s Marvel editor Jim Shooter believed, "[W]e would have gone out of business".[53] In 1975, Thomas wrote the first joint publishing venture between Marvel and DC Comics – a 72-page Wizard of Oz movie adaptation in an oversized "Treasury Edition" format with art by John Buscema.[19][54] He and Buscema crafted a comics adaptation of Tarzan for Marvel in June 1977.[55]
DC Comics
In 1981, after several years of freelancing for Marvel and a dispute with then editor-in-chief Jim Shooter, Thomas signed a three-year exclusive writing/editing contract with DC. He marked his return to that company with a two-part Green Lantern story in Green Lantern #138–139 (March–April 1981), and briefly wrote Batman,[56][57]DC Comics Presents, and the Legion of Super-Heroes.[19] DC gave Thomas' work a promotional push by featuring several of his series in free, 16-page insert previews.[58][59][60][61]
Thomas married his second wife, Danette Couto, in May 1981.[62] Danette legally changed her first name to Dann[63] and would become Thomas' regular writing partner. He credits her with the original idea for the Arak, Son of Thunder series drawn by Ernie Colón.[64] Writer Gerry Conway would also be a frequent collaborator with Thomas; together they wrote a two-part Superman-Shazam team-up in DC Comics Presents; a series of Atari Force and Swordquest mini-comics packaged with Atari 2600 video games; and three Justice League-Justice Society crossovers.[19][65][66] Conway also contributed ideas to the talking animal comic Captain Carrot and His Amazing Zoo Crew!, created by Thomas and Scott Shaw.[19][67] Thomas and Conway were to be the co-writers of the JLA/Avengersintercompany crossover[68] but editorial disputes between DC and Marvel caused the project's cancellation.[69] During that era, Roy Thomas and Gerry Conway collaborated on the screenplays for two movies: the animated featureFire and Ice (1983) and Conan the Destroyer (1984).[70] The duo also worked on a live-action X-Men film for production company Nelvana that never went into production.[71]
As a solo writer, Roy Thomas wrote Wonder Woman and, with artist Gene Colan, updated the character's costume and introduced a new supervillainess, the Silver Swan.[19] His final work on the series, issue #300 (Feb. 1983), was co-written with his wife Dann Thomas,[72] who, as Roy Thomas noted in 1999 "became the first woman ever to receive scripting credit on the world's foremost super-heroine."[63]
In 1984, Thomas sent Jim Shooter a letter in which he hoped ...
... to let bygones be bygones, and if possible, to avoid adverse comment on Marvel and its policies. I've even long regretted the fact that your elevation to the position of editor-in-chief, in which you've obviously done a fine job, came at a time after I'd moved to the West Coast. Perhaps if we'd had more personal communication from 1977 to 1980, we could have come to some sort of agreement at that time or at least parted under more amicable circumstances. I leave it to you to decide if we should ever make any attempt to rectify that situation; certainly I've never been a grudge-carrier in other cases. ...[83]
With Marvel's four-issue miniseries Stoker's Dracula (Oct. 2004 – May 2005), Thomas and artist Dick Giordano completed an adaptation of Bram Stoker's novel Dracula, which the duo had begun 30 years earlier in 10- to 12-page installments, beginning with Marvel's black-and-white horror-comics magazine Dracula Lives! #5 (March 1974). They had completed 76 pages, comprising roughly one-third of the novel, through issues #6–8 and 10–11 and Marvel Preview #8 ("The Legion of Monsters"),[19] before Marvel canceled Dracula Lives and later many of its other black-and-whites.[84]
Anthem, a comic book series by Thomas and artists Daniel Acuña, Jorge Santamaria Garcia and Benito Gallego, about World War II superheroes in an alternate reality, was published by Heroic Publishing in January 2006. Thomas returned to Red Sonja in 2006, writing the one-shot Red Sonja: Monster Isle for Dynamite Entertainment. In 2007 Thomas wrote a Black Knight story for Marvel's four-issue miniseries Mystic Arcana.[19][85]
In 2011, Roy Thomas wrote the one-shot DC Retroactive: Wonder Woman – The '80s with art by Rich Buckler. In 2012, Thomas teamed with artists Mike Hawthorne and Dan Panosian on Dark Horse's Conan: The Road of Kings, which lasted 12 issues. In 2014, he wrote 75 Years of Marvel: From the Golden Age to the Silver Screen for Taschen, a 700-page hardcover history of Marvel Comics.[87][88] The following year, he compiled three volumes of World War II-era comics stories featuring Batman, Superman, and Wonder Woman for Chartwell Books.[89]
Thomas had a cameo appearance as a prison inmate on the third season of Marvel's Daredevil, released in October 2018 on Netflix, and wrote a blog entry about this experience.[90]
On November 10, 2018, Thomas visited Stan Lee at Lee's home in Beverly Hills to discuss Thomas' book The Stan Lee Story. Lee told Thomas' manager, John Cimino, "Take care of my boy Roy" before Lee and Thomas were photographed together. Lee died less than 48 hours later.[40]
Thomas made a return to Marvel Comics in 2019 with the release of the Captain America and The Invaders: Bahamas Triangle one-shot drawn by Jerry Ordway,[93] wrote a Wolverine origin page for the Marvel 1000 celebration issue and did a two-part Savage Sword of Conan story with artist Alan Davis. In 2020, Thomas wrote a 10-page story in the Marvel one-shot King-Size Conan #1.[94] In 2022, Thomas returned to write his most famous co-creation Wolverine, in the first two issues of a new Marvel Comics ongoing series called X-Men: Legends which tells new in-continuity stories of early X-Men adventures. Thomas's two-part story takes place right after The Incredible Hulk #181 and right before Giant-Size X-Men #1 and reveals a missing link mystery about Wolverine's costume.[95]
On February 23, 2021, Thomas criticized Abraham Riesman's controversial Stan Lee biography True Believer: The Rise and Fall of Stan Lee. In a guest column in The Hollywood Reporter, Thomas took issue with Riesman's assessment of conflicting accounts of the work of Lee and Jack Kirby, who is credited with co-creating many classic Marvel characters. Thomas stated, "Something like 95 percent of the time, [the book] is a very good biography. However, the remaining (and crucial) 5 percent of its content, scattered amid all that painstaking research and well-written prose, renders it often untrustworthy...i.e., a very bad biography. Because the author often insists, visibly and intrusively, on putting his verbal thumb on the scales, in a dispute he seems ill-equipped to judge."[96]
Thomas serves on the Disbursement Committee of the comic-book industry charity The Hero Initiative.[97]
1977: Nomination: Favourite Single Comicbook Story at the Eagle Awards for Fantastic Four #176: "Improbable as It May Seem the Impossible Man is Back in Town" with penciler George Pérez[104]
1978: Nomination: Favourite Writer at the Eagle Awards[105]
^Thomas (interviewer) in "So You Want a Job, Eh? The Gene Colan Interview", Alter Ego vol. 3, #6 (Autumn 2000) pp. 13–14
^"Bullpen Bulletins" page, "Brilliant Bits of Block-Busting Bombast Straight from your Blushin' Bullpen!" in Marvel Comics cover-dated March 1969, including The Incredible Hulk vol. 2, #113
^For example: Hill, Shawn, "Essential Avengers v4" (review), Comics Bulletin, February 15, 2006, re: the "Kree-Skrull War" arc: "This story set the standard for years to come, even if it has since been surpassed" (WebCitation archive); and Sanderson, Peter. Marvel Universe (Harry N. Abrams, 1998) ISBN0-8109-8171-8, ISBN978-0-8109-8171-3, p. 127: "Running nine issues, much of it spectacularly illustrated by Neal Adams, the Kree-Skrull War had no precedent in comics. ... With this story The Avengers unquestionably established its reputation as one of Marvel's leading books"; and Stiles, re: X-Men: "Even knowing that the book was slated for the axe, Adams poured out some of the finest, most innovative work of his career".
^ ab"1969 Alley Awards". Hahn Library Comic Book Awards Almanac. n.d. Archived from the original on September 10, 2015.
^Sanderson, Peter "1970s" in Gilbert (2008), p. 146: ""Writer Roy Thomas and British artist Barry Smith (later known as Barry Windsor-Smith) launched Marvel's sword-and-sorcery comics with Conan the Barbarian, in a series that ran for 275 issues."
^Thomas, Roy; Buscema, Sal; Adams, Neal; Buscema, John (2000). Avengers: The Kree-Skrull War. Marvel Comics. ISBN978-0785107453.
^Daniels p. 150: "This wild tale ... attempted to tie together more than thirty years of the company's stories ... More than any previous work, 'The Kree-Skrull War' solidified the idea that every comic book Marvel had ever published was part of an endless, ongoing saga."
^Sanderson "1970s" in Gilbert (2008), p. 150: "Unprecedented in Marvel history, this epic spanned nine issues of The Avengers. The saga began in The Avengers #89."
^ abManning, Matthew K. (2012). "1970s". In Gilbert, Laura (ed.). Spider-Man Chronicle Celebrating 50 Years of Web-Slinging. London, United Kingdom: Dorling Kindersley. p. 59. ISBN978-0756692360. In the first issue of The Amazing Spider-Man to be written by someone other than Stan Lee ... Thomas also managed to introduce a major new player to Spidey's life – the scientifically created vampire known as Morbius.
^Manning "1970s" in Gilbert (2012), p. 60: "Spider-Man was a proven hit, so Marvel decided to expand the wall-crawler's horizons with a new Spider-Man title ... Its first issue featured Spidey teaming up with the Human Torch against the Sandman in a Christmas tale written by Roy Thomas with art by Ross Andru."
^DeFalco "1960s" in Gilbert (2008), p. 131: "A precursor of the unstoppable robot in the Terminator films, Ultron sprang from the minds of writer Roy Thomas and artist John Buscema."
^Walker, Karen (February 2010). "Ultron: The Black Sheep of the Avengers Family". Back Issue!. Raleigh, North Carolina: TwoMorrows Publishing (38): 23–30.
^Sanderson "1970s" in Gilbert (2008), p. 178: "Danvers first appeared in March 1968, as a NASA security chief in the Captain Mar-Vell story in Marvel Super-Heroes #13, and was originally created by writer Roy Thomas and artist Gene Colan."
^Sanderson "1970s" in Gilbert (2008), p. 165: "Marvel combined the superhero and martial arts genres when writer Roy Thomas and artist Gil Kane created Iron Fist in Marvel Premiere #15."
^Sanderson "1970s" in Gilbert (2008), p. 156: "Co-created by editor Roy Thomas, writer Gary Friedrich, and artist Mike Ploog, the new Ghost Rider was Johnny Blaze, a motorcycle stunt performer."
^Sanderson "1970s" in Gilbert (2008), p. 154: ""Roy Thomas came up with the idea for a series called 'I, Werewolf', narrated in the first person by a teenager who transformed into a werewolf. Stan Lee liked the concept but decided to name it 'Werewolf by Night'. The initial creative team on the series was scriptwriter Gerry Conway and artist Mike Ploog."
^Sanderson "1970s" in Gilbert (2008), p. 159: "Roy Thomas conceived the initial idea of an alternate-future Earth sequel to H. G. Wells' classic science fiction novel The War of the Worlds ... Neal Adams plotted the first story with a script by Gerry Conway and art by Adams and Howard Chaykin."
^DeFalco "1960s" in Gilbert (2008), p. 132: "The updated Vision was created by writer Roy Thomas, who continued his trick of taking a name that Marvel already owned and creating a new super hero around it ... The new Vision, drawn by John Buscema, was a synthozoid – an android with synthetic human organs."
^DeFalco "1960s" in Gilbert (2008), p. 128: "[Thomas] often employed a name that Marvel already owned and built a new character around it. Such was the case with the Black Knight."
^Sanderson "1970s" in Gilbert (2008), p. 157: "September [1972] witnessed a new generation taking command at Marvel Comics. Roy Thomas not only became writer of 'The World's Greatest Comic Magazine' with Fantastic Four #126, but also simultaneously became Marvel's Editor-in-Chief."
^Sanderson "1970s" in Gilbert (2008), p. 151: "[Roy] Thomas and artist Ross Andru reunited [Doctor] Strange, the Hulk, and Namor as a brand new Marvel superhero team – the Defenders."
^DeAngelo, Daniel (July 2013). "The Not-Ready-For-Super-Team Players A History of the Defenders". Back Issue!. Raleigh, North Carolina: TwoMorrows Publishing (65): 3–5.
^Sanderson "1970s" in Gilbert (2008), p. 170: "In 1975, Thomas and adventure comic strip artist Frank Robbins created the Invaders."
^"Jim Shooter Interview, Part 1". ComicBookResources.com. October 6, 2000. Archived from the original on October 17, 2010. We had been losing money for several years in the publishing. And y'know, actually a lot of credit should go to Roy Thomas, who – kicking and screaming —had dragged Marvel into doing Star Wars. If we hadn't done Star Wars – what was that, '77? – well, we would have gone out of business. Additional .
^McAvennie, Michael (2010). "1970s". In Dolan, Hannah (ed.). DC Comics Year By Year A Visual Chronicle. London, United Kingdom: Dorling Kindersley. p. 165. ISBN978-0-7566-6742-9. The Yellow Brick Road from Munchkin Land to the Emerald City was also wide enough to accommodate DC and Marvel as they produced their first-ever joint publication ... Roy Thomas scripted a faithful, seventy-two-page adaptation of Dorothy Gale's adventure, while John Buscema's artwork depicted the landscape of Oz in lavish detail.
^Sanderson "1970s" in Gilbert (2008), p. 179: "Writer Roy Thomas and artist John Buscema created Marvel's new Tarzan series, based on author Edgar Rice Burroughs' character."
^Manning, Matthew K. (2014). "1980s". In Dougall, Alastair (ed.). Batman: A Visual History. London, United Kingdom: Dorling Kindersley. p. 139. ISBN978-1465424563. Batman #337 Gerry Conway was assisted by writer Roy Thomas and the pencils of José Luis García-López in this issue that introduced Batman to the new threat of the Snowman.
^Manning "1980s" in Dougall, p. 139: Batman #340 "Writers Gerry Conway and Roy Thomas collaborated with artist Gene Colan for the dramatic return of the Mole, an old Batman villain given a serious upgrade."
^Catron, Michael (June 1981). "Thomas Revives WWII Superheroes". Amazing Heroes. Stamford, Connecticut: Fantagraphics Books (1): 28–30. All-Star Squadron, DC's new World War II-era superhero series debuts in May in a 16-page preview insert in Justice League of America #193.
^Catron, Michael (June 1981). "Thomas's Indian/Viking to Roam Medieval Europe". Amazing Heroes. Stamford, Connecticut: Fantagraphics Books (1): 28–30. Arak, Son of Thunder, described as an 'Indian/Viking,' makes his debut in a preview insert in Warlord #48, on sale in May.
^Sanderson, Peter (September–October 1981). "Thomas/Colan Premiere Wonder Woman's New Look". Comics Feature. New Media Publishing (12/13): 23. The hotly-debated new Wonder Woman uniform will be bestowed on the Amazon Princess in her first adventure written and drawn by her new creative team: Roy Thomas and Gene Colan ... This story will appear as an insert in DC Comics Presents #41.
^Manning, Matthew K. "1980s" in Dolan, p. 196: "The New Teen Titans #16 – In a sixteen-page bonus preview insert in the middle of The New Teen Titans ... was the debut story of Captain Carrot and his Amazing Zoo Crew."
^ abThomas, Roy "The Secret Origins of Infinity, Inc." Alter Ego vol. 3, #1 (Summer 1999) TwoMorrows Publishing p. 27
^Thomas, Roy "Roy Thomas Checklist" Alter Ego vol. 3, #50 (July 2005) TwoMorrows Publishing p. 23
^Thomas, Roy. "The Justice League-Justice Society Team-Ups" The All-Star Companion TwoMorrows Publishing 2000 ISBN1-893905-05-5 pp. 191–192
^Thomas, Roy "Crisis on Finite Earths The Justice League-Justice Society Team-Ups (1963–1985)" Alter Ego, vol. 3, #7 (Winter 2001) TwoMorrows Publishing, pp. 31–34
^Manning "1980s" in Dolan, p. 200: "The Amazing Amazon was joined by a host of DC's greatest heroes to celebrate her 300th issue in a seventy-two-page blockbuster ... Written by Roy and Dann Thomas, and penciled by Gene Colan, Ross Andru, Jan Duursema, Dick Giordano, Keith Pollard, Keith Giffen, and Rich Buckler."
^Manning "1980s" in Dolan, p. 195: "The creative team of writer Roy Thomas and artist Rich Buckler on All-Star Squadron offered readers a nostalgic glimpse back in time, albeit through the slightly distorted lens of Earth-2's history."
^"One of Thomas's goals is to resolve problems in past Earth-2 continuity." as noted in "From Here to Infinity" Sanderson, Peter Amazing Heroes #36 (December 1, 1983) p. 47
^Manning "1980s" in Dolan, p. 203: "The children of the original Justice Society of America made their smash debut in this issue by writer Roy Thomas and penciler Jerry Ordway ... All-Star Squadron #25 marked the first appearances of future cult-favorite heroes Jade, Obsidian, Fury, Brainwave Jr., the Silver Scarab, Northwind, and Nuklon."
^Manning "1980s" in Dolan, p. 207: "Written by DC's Golden Age guru Roy Thomas and drawn by Jerry Ordway, Infinity, Inc. was released in DC's new deluxe format on bright Baxter paper."
^Manning "1980s" in Dolan, p. 212: "In this limited series by writer Roy Thomas and penciler Rafael Kayanan, the JSA was taken to trial following a modern-day witchhunt."
^Greenberger, Robert (August 2017). "It Sounded Like a Good Idea at the Time: A Look at the DC Challenge!". Back Issue!. Raleigh, North Carolina: TwoMorrows Publishing (98): 41–43.
^Manning "1980s" in Dolan, p. 218: "The heroes of the DC Universe got a little more exposed thanks to the new ongoing effort Secret Origins, a title offering new interpretations to the backgrounds of some of comics' biggest icons. [Its] debut issue featur[ed] the origin of the first true super-hero – the Golden Age Superman – by writer Roy Thomas and illustrator Wayne Boring."
^Manning "1980s" in Dougall, p. 162: "Earth-Two Batman's history was chronicled by writer Roy Thomas and artist Marshall Rogers."
^Wells, John (August 2017). "Their Lives Were an Open Book: Secret Origins 1986–1990". Back Issue!. Raleigh, North Carolina: TwoMorrows Publishing (98): 2–20.
^Manning "1980s" in Dolan, p. 221: "The world's first super-team saw its adventures come to a temporary end thanks to its biggest fan. Writer/editor Roy Thomas acknowledged that, after ... the Crisis maxiseries, the JSA seemed no longer relevant."
^"Bullpen Bulletins" page, "Wondrously Witty Words From a Woomful of Wombats!" in Marvel Comics cover-dated October 1974: "Our own Rascally Roy Thomas ... was recently awarded an Alfred by the first International Comic-Strip Congress at Angouleme, France ... The award was given to Roy as best comics writer in a foreign language. Sheesh! And here all these years he thought he was writing in English!"
^Marx, Barry, Cavalieri, Joey and Hill, Thomas (w), Petruccio, Steven (a), Marx, Barry (ed). "Roy Thomas From Fan to Professional" Fifty Who Made DC Great, p. 33 (1985). DC Comics.
^"CAPS Banquet: Roy Thomas". Comic Art Professional Society. November 2, 2017. Archived from the original on October 26, 2018. Retrieved January 15, 2018.
