The world of comic books may be ruled by over-muscled physiques in tights and capes, but as Paul Gulacy (VC ’71) has proven, that’s not the only game in town. Hired by Marvel Comics while still a student at Art Institute of Pittsburgh, Gulacy made his mark on a series that epitomized the alternative to the super-hero set: the martial arts-cum-spy epic Master of Kung-Fu.

Thirty years later, Gulacy is renowned as one of the trailblazing comics artists of the ‘70s, as well as one of the first creator-owned success stories after his collaboration with writer Don McGregor on the seminal graphic novel Sable for Eclipse comics, a move that pre-dated the launch of creator-owned powerhouse Image Comics in the ‘90s. Currently the lead artist on DC’s Catwoman title, Gulacy reflects upon his longevity – and influence – as an elder statesman of the comic community.

“When I was attending Art Institute of Pittsburgh,” says Gulacy, “I was going home on weekends to Youngstown, Ohio. I was on a bus one night and, in conversation, this girl I was sitting with mentioned that she knows a guy in Youngstown that freelances for Marvel. His name was Val Mayerik.

“I met Val a week later at a dojo where he taught karate. We struck up a quick friendship and he informed me there was another comic artist named Dan Adkins in East Liverpool, Ohio. Adkins was already a hero of mine because he was known for inking Jim Steranko's Nick Fury: Agent of S.H.I.E.L.D.. This was where I began to realize that you didn’t have to live in New York to do this kind of work.

“Adkins suggested I work up a 6-page short story to submit to Marvel, reflecting my drawing style and my sequential story-telling abilities with no dialogue. He sent it to an editor named Roy Thomas, and two weeks later I got the phone call telling me I was hired.”

Gulacy’s first job was a story in Marvel’s Adventures Into Fear that featured a decidedly non-super-hero character, Morbius, the Living Vampire.

“I was attending classes at Art Institute of Pittsburgh in the day and working on that at night,” recalls Gulacy, epitomizing the hectic lifestyle of the comic artist from day one. “I did only one issue before Roy put me on another title called The Hands of Shang-Chi, Master of Kung Fu. From that point on, it was off to the races.”

Gulacy and writer Doug Moench shared a chemistry on Shang-Chi that helped the series last nearly a decade – far longer than America’s initial love affair with all things kung fu. Using photo reference and live models, Gulacy and his contemporaries ushered in a cinematic comic book style whose effects are still felt today – and wider than you might think; renegade film director Quentin Tarantino has cited Master of Kung Fu as one of his resonant influences.

“I've studied the works of many directors and tried to incorporate that look and feel into my work,” explains Gulacy. “Early on, it was Sergio Leone and Sydney Pollack. I always attempted to instill film techniques such as dramatic lighting, point-of-view shots, dissolve transitions, dazzling speed lines; anything that would give the reader the feeling that they're not just reading a comic, they're holding a movie on paper in their hands.”

When he’s not penciling tales of acrobatic anti-heroes and femme fatales, Gulacy has forayed into the world of commercial art. His desire to pursue a career in paperback illustration eventually led to freelance work with some of the top names in New York advertising, including Ted Bates & Co., NW Ayer and Jerry Della Famina.

“All along, I kept one foot in the comics biz because it's in your blood,” says Gulacy. In-between Shang-Chi and Catwoman, he’s added his definitive work to the canon of James Bond, Star Wars, Batman, The Terminator and Aeon Flux, to name a few. Steady work, healthy collaborations and a legion of fans from around the world would keep anyone coming back for more.