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Doug Wildey
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Douglas Samuel Wildey[1] (May 2, 1922 – October 4, 1994)[1] was an American cartoonist and comic book artist best known for originally conceptualizing and co-creating the classic 1964 American animated television series Jonny Quest for Hanna-Barbera Productions.

Key Information

Biography

[edit]

Early life and career

[edit]
Wildey panel from Atlas Comics' The Outlaw Kid #11 (May 1956).

Wildey was born[2] and raised[3] in Yonkers, New York, adjacent to New York City. He did World War II military service at Naval Air Station Barbers Point in Hawaii, where he began with his artistic talent and creative animation career as a cartoonist for the base newspaper.[4] He recalled his professional start as freelancing for the magazine and comic book company Street & Smith in 1947.[5] Because comic book writer and artist credits were not routinely given during this era, the earliest confirmed Wildey works are the two signed pieces in this publisher's Top Secret #9 (June 1949): a one-page house ad and the 10-page adventure story "Queen in Jeopardy", by an unknown writer.[6]

He went on to draw primarily Western stories for Youthful Magazines comics including Buffalo Bill, Gunsmoke (unrelated to the later television series), and Indian Fighter. He also contributed to the publishers Master Comics, Story Comics, Cross Publications and possibly others, puckishly observing that he'd worked for every publisher except EC, "the good one".[7]

In 1952, Wildey moved, with his whole family—wife Ellen and oldest daughter, Debbie and —to Tucson, Arizona.[4] Two years later, he began a regular stint at Atlas Comics, the 1950s forerunner of Marvel Comics, where he drew dozens of Western stories through 1957, primarily four- to five-page tales in such titles as Frontier Western. His art also appeared in the Atlas horror-fantasy comics Journey into Unknown Worlds, Marvel Tales, Mystery Tales, Mystic, Strange Tales, Uncanny Tales, and others.[6]

Animation historian Ken Quattro favorably describes Wildey's most "noteworthy" Western classic style as the 19-issue Atlas Comics series Outlaw Kid, "his take on the classic Western antihero", in which Wildey had creatively illustrated a three- to four-story arc per comic book issue:

In concept, it was typical of all the Stan Lee-created Kids (Colt, Rawhide, Two-Gun, Ringo, etc.). What set it apart was Wildey's art. . . . The Outlaw Kid was a monthly opportunity for Wildey to hone and develop his burgeoning art skills. Using Outlaw Kid #11 (May 1956) as an example of his work well into the series, the influence of cinema on his work is evident. Though he may have had this influence all along, now it is readily apparent, with panels staged like film scenes. The characters have a realistic, illustrative look to them. . . . Most significantly, his artwork finally had the consistent luster of professionalism. Wildey varied his inking from the fine stroke of an etching to the bold use of solid blacks to attain dramatic chiaroscuro effects.[4]

Much of this work was reprinted by Marvel from 1970 through 1974, exposing Wildey's work to a younger generation.[6]

After an Atlas Comics retrenchment in 1957—during which the company mixed a trove of inventory stories by Wildey and many others with new material for about two to three years—Wildey freelanced on a small number of standalone anthology stories for two other publishers: Harvey Comics, in the science fiction/fantasy titles Alarming Tales #3-5 (Jan.-Sept. 1958), and Black Cat Mystic #62 (March 1958), Hi-School Romance #73 (March 1958) and Warfront #34 (Sept. 1958); and DC Comics, in Tales of the Unexpected #33 & 35 (Nov. 1958, March 1959), House of Secrets #17 (Feb.1959), My Greatest Adventure #28 & 32 (November 1958 & June 1959), and House of Mystery #89 (Aug. 1959). He also later drew the first issue of Dell Comics' TV series spin-off Dr. Kildare (a.k.a. 4 Color #1337, June 1962).[6]

Portion of sample Sunday page of Wildey's proposed comic strip Stretch Bannon. Wildey would use part of the name for a cast character of his animated TV series Jonny Quest.

In either 1959[2][4] or 1961[8] (sources vary) he took over the art for writer Leslie Charteris' long-running New York Herald Tribune Syndicate comic strip The Saint. Some of their strips were inked by Dick Ayers as the deadlines of producing a daily and Sunday strip proved daunting.[4] The strip ended in 1962.[8] Adding credence to the latter date is Wildey spending part of 1960, possibly only a month, penciling his idol Milton Caniff's famed Steve Canyon comic strip[2][9] and trying unsuccessfully to launch his own syndicated strip.[9]

Two such proposed strips would help provide a character name and some narrative background to Wildey's later animated television series, Jonny Quest. As he described in 1986,

I once tried an automobile comic strip. Because this whole country runs on the automobile economy, right? . . . In my case, my guy was sort of an automobile designer. He raced cars. He had this glamorous European background, and raced on American tracks. I called him Stretch Bannon. . . . Then, later on, I tried another strip about a writer-artist team that traveled the world getting into adventures. The name was Race Dunhill. So I put the Race and the Bannon together and that's where Race Bannon came from.[10]

Television Animation Work

[edit]

Following the end of The Saint comic strip in 1962, Wildey found, through an ad in the National Cartoonists Society newsletter, what was initially a one-week[9] television animation job in Los Angeles, California, working under artist Alex Toth on Cambria Productions' 1962 animated series Space Angel.[11] Wildey eventually worked on the animated series for about 12 to 14 weeks, after which, he then recalled and carried on and over in 1986.

I had applied to Universal [Studios] (which was called something else at the time) as sort of a storyboard [artist] / production designer. [Producer] Stanley Kramer's office got interested in my stuff, so I figured, rather than move back to Arizona, where my family lives, maybe I could latch onto Stanley Kramer. [The animation studio] Hanna-Barbera was up the street from there, so I simply crossed the street, went up to Hanna-Barbera, and said, 'Look, I'm an artist' and so forth. A couple of people there had read some of my comic strips and comic books, so they said, 'Come in and see [Joe] Barbera.' The following day, or maybe even the same day, Barbera called me up and said, 'Can you design, in your style, a show [starring the radio drama adventure character] Jack Armstrong?'[10]

Wildey also wrote and drew a presentation, using such magazines as Popular Science, Popular Mechanics, and Science Digest "to project what would be happening 10 years hence", and devising or fancifully updating such devices as a "snowskimmer" and hydrofoils. When Hanna-Barbera could not obtain the rights to Jack Armstrong, the studio had Wildey rework the concept. Wildey "went home and wrote Jonny Quest that night — which was not that tough." For inspiration he drew on Jackie Cooper and Frankie Darrow movies, Milton Caniff's comic strip Terry and the Pirates, and, at the behest of Hanna-Barbera, the James Bond movie Dr. No.[10] Hanna-Barbera refused to give him a "created by" credit, Wildey said in 1986, and he and studio "finally arrived on 'Based on an idea created by', and that was my credit."[10]

The prime-time TV animated series Jonny Quest originally debuted on ABC on September 18, 1964. And as American comics historian Daniel Herman then wrote:

Wildey's designs on Jonny Quest gave the cartoon a distinctive look, with its heavy blacks [i.e. shading and shadow] and its Caniff-inspired characters. . . . The show was an action/adventure story involving the feature's namesake, a young brave and brilliant 11-year-old boy. The cast of characters included Jonny's kid sidekick, named Hadji, Jonny's globetrotting and brilliant scientist dad, Dr. Benton Quest and the groups' handsome bodyguard, secret agent Race Bannon, who looks as if he stepped out of the pages of [Caniff's comic strip] Steve Canyon. . . . The look of Jonny Quest was unlike any other cartoon television show of the time, with its colorful backgrounds, and its focus on the characters with their jet packs, hydrofoils, and lasers. Wildey would work on other animation projects, but it was with his work on Jonny Quest that he reached his widest audience, bringing a comic book sense of design and style to television cartoons.[12]

Although, Wildey did not design the more cartoonishly drawn comic relief pet dog, Bandit, which was otherwise designed by animator Dick Bickenbach.[10]

Wildey then went on to work on several other animated series including Herculoids,[citation needed] Jana of the Jungle,[10] Return to the Planet of the Apes (1975),[10] The Godzilla Power Hour (1978),[10] Mister T (1983),[citation needed] and Chuck Norris: Karate Kommandos (1986).[citation needed]

Return to Comics

[edit]

In the mid-1960s, Wildey eventually returned to comic books, drawing stories for the premiere issues of Harvey Comics' Thrill-O-Rama, Unearthly Spectaculars (both October 1965 series) and Double-Dare Adventures (December 1965).[6] Most significantly during this time,[13] he collaborated with writer Gaylord DuBois on Gold Key Comics' licensed series Tarzan when that long-running comic, which had been reprinting stories drawn by Russ Manning, began producing new work beginning with issue #179 (September 1968). The duo's work appeared through issue #187 (September 1969).[6]

After a short hiatus from comic books, broken only by 3 1971 stories for Skywald's black-and-white horror-comics magazines Psycho and Nightmare, plus the Haunted Tank story "The Armored Ark" in DC Comics' G.I. Combat #153 (May 1972),[6] Wildey created the comic strip Ambler, which ran from 1972 to 1975.[2] Syndicated to newspapers by the Chicago Tribune New York News Syndicate, the contemporary strip chronicled the adventures of an itinerant folk musician.[13]

Afterwards, Wildey then returned to comic books to do stories for Archie Comics' horror-humor anthology series Mad House, Gold Key's Mystery Comics Digest, and DC's Our Army at War and Sgt. Rock, among other titles. Returning to his Western roots, he drew the feature "Jonah Hex" in DC's Weird Western Tales #26 (February 1975) and co-created with writer Larry Lieber the feature "Kid Cody, Gunfighter" in Atlas/Seaboard Comics' Western Action #1 (February 1975).[6]

As both writer and comic book artist, Wildey also created his own Western feature, "Rio", that ran in Eclipse Comics' Eclipse Monthly #1-10 (Aug. 1983 - July 1984), and he returned to his most prominent creation that decade with a Jonny Quest comic book series published by Comico. Wildey wrote and drew the stories in Jonny Quest #1 (July 1986) and Jonny Quest Classics #1-3 (May 1987 — July 1987), and provided several covers. Comico also reprinted several of his Rio stories in a June 1987 one-shot, and Wildey produced new Rio stories for Dark Horse Comics' two-issue miniseries Rio at Bay (July 1992 — August 1992).[6]

Wildey's last original comics work was the painted art for the short 8-page Western tale "The End of the Time of Leinard" by writers Faye Perozich and Harlan Ellison in Dark Horse's Harlan Ellison's Dream Corridor Special (January 1995).[6]

Death

[edit]

Wildey died of a congenital heart failure in Las Vegas, Nevada, on October 4, 1994. He was around 72 years old at the time of his death. He was surrounded by numerous family members and working colleagues by his side.[13]

Bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Doug Wildey

View on Grokipedia
from Grokipedia
Doug Wildey (May 2, 1922 – October 5, 1994) was an American self-taught , , and renowned for conceptualizing and designing the groundbreaking animated television series , which debuted in 1964 and featured realistic character designs, exotic adventures, and a spy-thriller tone inspired by films like Dr. No. Born in Yonkers, New York, Wildey began his professional career in the late 1940s after serving in World War II, where he contributed cartoons to a naval air station newspaper. His early comic book work focused on Western genres for publishers such as Atlas Comics (a predecessor to Marvel Comics), including notable runs on The Outlaw Kid (12 issues, 1954–1957) and contributions to Kid Colt, Outlaw (6 issues). He also illustrated adventure strips like Tarzan of the Apes for Dell Comics (9 issues in the 1960s) and created original series such as Rio, a Western tale serialized in Pacifica and later collected by IDW Publishing. In the 1960s, Wildey transitioned to animation, working briefly under at Cambria Studios on the realistic syndicated series before pitching —originally envisioned as an update to the radio adventure —to , where he handled storyboarding, character designs, and initial scripting for its 26 episodes. The show's innovative use of techniques, dramatic shadows, and limited violence for its era made it a cult favorite, influencing later action-adventure cartoons. Wildey continued in television through the and , serving as a and on projects including The , (26 episodes, 1978–1980), Jana of the Jungle (13 episodes, 1978), and Return to the (13 episodes, 1975). He later returned to in the , producing work for Pacific Comics, , and Comico, including licensed adaptations. His distinctive style, influenced by artists like and , emphasized dynamic compositions and detailed realism, earning him lasting recognition in both and fields.

Biography

Early Life

Doug Wildey was born on May 2, 1922, in Yonkers, New York. He grew up in Yonkers, developing a lifelong passion for drawing from an early age. Lacking formal art training, Wildey taught himself the fundamentals of illustration and cartooning. During World War II, Wildey served in the U.S. Navy, where he honed his skills by creating cartoons for the base newspaper, an experience that paved the way for his entry into professional cartooning. Wildey was married to Ellen Wildey and was the father of two daughters, Debbie—born prior to 1952—and Lee. In 1952, he relocated with his family to Tucson, Arizona.

Early Career in Comics

Doug Wildey began his professional career in as a in 1949, debuting with artwork for Street & Smith's Buffalo Bill Picture Stories #1 (June-July 1949), where he contributed illustrations to Western adventure stories. His self-taught drawing skills, honed from childhood, enabled this entry into the industry, allowing him to produce dynamic panels that captured the action and grit of frontier tales. Throughout the early 1950s, Wildey expanded his freelance work across multiple publishers, focusing on Western and adventure genres. He contributed to Youthful Magazines' titles, including Gunsmoke #9 (October 1950) and later issues of Buffalo Bill (1950–1953), where he penciled and inked stories emphasizing historical figures and rugged landscapes. Additionally, he illustrated for Ziff-Davis publications, such as the horror-tinged adventure in Weird Thrillers #5 (October-November 1952), showcasing his versatility in shifting from Westerns to more suspenseful narratives. Wildey's most notable early comic run came with Atlas Comics (a precursor to Marvel), where he created and illustrated The Outlaw Kid from 1954 to 1957, producing 12 issues of the series featuring the masked gunslinger Lance Temple fighting injustice in . The feature highlighted his clean, realistic style influenced by adventure strips, with stories often scripted under Atlas's editorial oversight by figures like . In 1960, he briefly assisted on Milton Caniff's newspaper strip , penciling dailies for a short period and gaining insight from one of his key influences. By 1962, Wildey relocated to Hollywood with his wife Ellen and daughters Debbie and Lee, seeking new opportunities that would pivot his career toward animation while concluding his primary focus on print comics.

Television Animation Work

Doug Wildey's transition to television animation began in 1962 when he collaborated with artist Alex Toth on Cambria Productions' Space Angel, a syndicated series that pioneered limited animation techniques to produce serialized five-minute episodes totaling 225 segments over two years. In this project, Wildey served as a key designer and production assistant, contributing to the visual style of the science fiction adventures featuring the Space Force combating extraterrestrial threats, which marked an early experiment in cost-effective animation methods like Syncro-Vox for lip synchronization. Wildey's most influential contribution came in 1964 with Hanna-Barbera Productions' , which he conceptualized and designed, debuting on ABC on September 18, 1964, as the studio's first action-adventure series aimed at a mature audience. He created the core characters, including the young explorer , his scientist father Dr. Benton Quest, the adopted Indian companion Hadji, the bulldog Bandit, and the bodyguard Race Bannon, drawing inspiration from the film Dr. No (1962) to infuse espionage elements, such as the villain Dr. Zin, into the narrative. This series broke from 's typical comedic style by emphasizing realistic action sequences, global intrigue, and cinematic storytelling, with 26 episodes that showcased Wildey's detailed character designs and storyboards to achieve a more sophisticated, pulp-inspired tone. Throughout the late 1960s and 1970s, Wildey continued to shape Hanna-Barbera's output with his design expertise on several adventure-oriented series, prioritizing mature themes and dynamic visuals. For The Herculoids (1967), he contributed character and production designs, helping to craft the 18-episode storyline of a family defending their alien planet with bizarre creatures like Zok the laser dragon and Igoo the rock ape, which highlighted innovative creature concepts in limited animation. In 1975, Wildey served as supervising director, associate producer, and storyboard artist for NBC's Return to the Planet of the Apes, a 13-episode adaptation that reimagined the film franchise with a more advanced ape society and human resistance, incorporating his skills in action layout to blend science fiction with dramatic tension. By 1978, he designed characters for The Godzilla Power Hour on NBC, including the backup segment Jana of the Jungle, a 13-episode series he created featuring the titular heroine navigating South American wilds with allies like Dr. Ben Cooper and Montaro the monkey, echoing Jonny Quest's adventurous spirit while introducing a strong female lead in eco-focused perils. These works solidified Wildey's legacy in elevating television animation toward more grounded, thrill-driven narratives during an era dominated by lighter fare.

Return to Comics

After a period focused on television , Doug Wildey returned to in the late 1960s, illustrating the series for from issues #179 to #187 (September 1968–September 1969), collaborating with writer Gaylord DuBois on stories adapting ' works, such as "" and "Tarzan and the City of Gold." In 1971, he released the art portfolio The Movie Cowboy through Promethean Enterprises, featuring 26 black-and-white illustrations (12x18 inches) depicting cinematic Western scenes inspired by classic Hollywood films. Wildey's resurgence continued into the 1980s with contributions to DC Comics' Blackhawk series, including the 7-page "The Little War!" story in Blackhawk Detached Service Diary #268 (March 1984), which he both penciled and inked under script by Mark Evanier. He also produced licensed Jonny Quest adaptations for Comico (1986–1987) and created the spy series Ambler for newspapers and comics publishers like Pacific Comics, Eclipse Comics, and Comico. His most significant late-career comic project was the creation of Rio, a Western adventure series he wrote and drew, debuting in 1983 across three issues of Eclipse Comics' Eclipse Monthly anthology before reprints and new installments appeared through Comico (1987 one-shot), Marvel (Rio Rides Again #1–3, 1990), and Dark Horse (Rio at Bay #1–2, 1992), centered on an aging gunfighter serving as a presidential agent. The financial stability from his successes enabled Wildey to pursue these independent endeavors. Alongside print work, he contributed to late projects, including storyboarding for (1993–1995) at Universal Cartoon Studios, as well as writing credits on productions during this period.

Death and Legacy

Doug Wildey died on October 5, 1994, in , , at the age of 72 from . He was survived by his wife, , and their two daughters, Debbie and Lee. Wildey's legacy in animation is most prominently tied to his creation of , which pioneered a realistic and adult-oriented approach to cartoons, emphasizing sophisticated storytelling, dynamic action, and techniques that broke from the prevailing style of the era. This groundbreaking series influenced subsequent action-adventure shows, including the 1980s animated series, which adopted similar globe-trotting espionage and heroic team dynamics. Efforts to reboot in the , including a live-action film project in development at , underscore its lasting appeal and Wildey's foundational role in shaping modern animated adventures, though the project has since stalled. In comics, Wildey revitalized the Western genre through his mature, character-driven narratives in Rio, blending historical accuracy with deep human drama in a way that was uncommon for the medium at the time. His ability to transition seamlessly between print and animation highlighted his versatility, as seen in how his illustrative style informed both comic panels and storyboards, bridging the two fields during a pivotal era for visual storytelling. Although Wildey received no major awards during his lifetime, his posthumous recognition comes through widespread fan appreciation and reprints of his work, including the 2004 DVD release of the original series, which introduced his creations to new generations. Collaborators and peers have reflected on his strong and qualities; for instance, artist Mike Royer noted Wildey's influence in fostering dedication among contemporaries, while his guidance under figures like informed his own teaching approach in later years.

Artistic Style and Influences

Key Influences

Doug Wildey's artistic development was profoundly shaped by the pioneering work of newspaper strip creators Harold Foster, known for Prince Valiant, Alex Raymond, celebrated for Flash Gordon, and Milton Caniff, renowned for Terry and the Pirates and Steve Canyon. These artists influenced Wildey's approach to dynamic storytelling, detailed linework, and character-driven adventure narratives, which he emulated in his early comic book illustrations. Cinematic sources also played a pivotal role in Wildey's creative process, particularly Western films and the series. He drew inspiration from classic movies, synthesizing their archetypal elements into his own Western tales, such as those featuring rugged protagonists and frontier drama. The 1962 film Dr. No specifically informed the spy thriller aspects of , incorporating espionage motifs like secret agents and high-stakes intrigue into the series' design. Wildey's experiences during further honed his skills, as he served in the U.S. Navy at Barber's Point in , where he worked as a for the base . This role demanded quick, effective visual storytelling under deadline pressure, refining his ability to convey narrative clarity in constrained environments. Lacking formal art education, Wildey was entirely self-taught, developing his techniques through intensive study of strips and , which fostered his distinctive blend of realism and pulp adventure.

Characteristic Style

Doug Wildey's artistic style is marked by a commitment to realistic anatomy and dynamic posing, particularly in action sequences, where figures exhibit fluid movement and proportional accuracy inspired by Milton Caniff's illustrative techniques. This approach allowed for compelling depictions of physical tension and motion, setting his work apart in both and by grounding fantastical elements in believable human forms. Foundational influences such as further reinforced these realistic traits, emphasizing precision in form and gesture. A hallmark of Wildey's visual language is his cinematic framing, which incorporates dramatic angles, strategic shadows, and sophisticated composition to evoke the depth and pacing of live-action films. By leveraging heavy blacks for shading and silhouettes, he created a sense of volume and atmosphere, enhancing tension without relying on excessive detail. This filmic sensibility translated seamlessly across media, making scenes feel immersive and sequential. Wildey adeptly wove mature themes into his narratives, blending , , and subtle violence in ways that suited family-oriented formats while appealing to broader audiences. These elements added layers of intrigue and , often through understated conflict rather than overt , reflecting his skill in balancing with sophistication. In adapting to television , Wildey developed efficient character designs optimized for budgets, prioritizing bold lines and highly expressive faces to convey emotion and personality with minimal movement. This streamlined approach ensured visual clarity and impact on screen, where static poses and facial nuances carried much of the storytelling load. Over time, Wildey's style evolved from the intricate, detailed panels of his —rich with textured environments and elaborate line work—to the more streamlined, versatile character models of , which favored simplicity and adaptability for production efficiency. This progression highlighted his versatility, maintaining core visual strengths while responding to the demands of different mediums.

Bibliography

Comics Works

Doug Wildey's comic book career began with Western stories in the late 1940s and continued sporadically through the 1980s, often emphasizing rugged frontiersmen and adventure narratives in print media. His first professional work appeared in Buffalo Bill Picture Stories for Street & Smith in 1949, marking his debut with illustrated Western tales featuring the legendary frontiersman in action against outlaws and natural perils. In the 1950s, Wildey contributed extensively to Atlas Comics (later Marvel), including Outlaw Kid #1–16 (1954–1957), where he provided art for historical Western stories centered on the masked vigilante Lance Temple seeking justice in . He also worked on Kid Colt, Outlaw (6 issues, 1950s), illustrating Western adventure stories, and Kid Cody, Gunfighter for Atlas/Seaboard in 1975, illustrating tales of young gunslingers navigating conflicts and moral dilemmas. Wildey ventured into newspaper strips with The Saint from 1959–1961, adapting Leslie Charteris's suave adventurer Simon Templar for daily syndication through the New York Herald Tribune, blending espionage and crime-solving with his dynamic linework. During a return to comics in the late 1960s, he illustrated Tarzan #179–187 for Gold Key (1968–1969), adapting Edgar Rice Burroughs's jungle hero in epic arcs like "Tarzan at the Earth's Core" and "Tarzan and the City of Gold," showcasing his skill in exotic, action-packed sequences. In 1971, released The Movie Cowboy portfolio through Promethean Enterprises, a collection of 26 large-format plates (12x17 inches) depicting iconic Hollywood Western stars and scenes, celebrating cinematic cowboy archetypes with detailed, nostalgic illustrations. Later works included a backup story in DC's Blackhawk #268 (1984), where Wildey drew "The Little War!"—a wartime adventure featuring the Blackhawk team in a high-stakes mission—written by Mark Evanier. In the 1980s, he produced the spy series Ambler for Pacific Comics (1984) and licensed Jonny Quest adaptations for Comico (1986–1987). Wildey's Western series Rio featured stories serialized in Eclipse Monthly (1982) and Rio #1–3 (Comico, 1987–1988), following the stoic gunfighter Rio through morally complex tales of revenge and redemption in the post-Civil War Southwest, with later graphic novel collections by Pacific Comics and others, emphasizing self-reliant storytelling free from mainstream constraints.

Animation Credits

Wildey's entry into television animation came in 1962 when he worked as a designer on the limited-animation series , produced by Productions under . His contributions included artwork across its 52 storylines (260 five-minute segments), helping establish the show's realistic style in a medium dominated by simpler designs. He achieved his greatest impact as the creator and concept artist for the groundbreaking adventure series (Hanna-Barbera Productions, 1964), which spanned 26 episodes and featured serialized narratives, mature themes including realistic violence, and innovative visual techniques like for fluid action sequences. This project marked a shift toward more sophisticated in children's programming, drawing from pulp adventure influences to blend with global exploration. In 1967, Wildey contributed design work to The Herculoids (Hanna-Barbera Productions), an action-oriented series about a family defending their planet with alien creatures, building on his expertise in dynamic character visuals from prior projects. Wildey provided storyboards and wrote 13 episode premises for Return to the Planet of the Apes (NBC, 1975), serving as associate producer, storyboard director, and supervising director on the 13-episode adaptation that reimagined the franchise in a more technologically advanced ape society. As creator and character designer, he developed Jana of the Jungle (Hanna-Barbera Productions, 1978), a 13-episode segment within The Godzilla Power Hour that followed a young woman searching for her father in the rainforests, incorporating environmental themes and strong female leads in its adventure format. Wildey served as producer on The Godzilla Power Hour (Hanna-Barbera Productions, 1978), overseeing 26 episodes that paired his Jana creation with a heroic take on Godzilla aiding human explorers, where he influenced the overall creative direction and character integration. Later in his career, Wildey worked as a on Exosquad (Universal Cartoon Studios, 1993), contributing to the series' design and narrative elements in its early episodes before his death in 1994.

References

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