Steve Epting attended the University of South Carolina, where he received a BFA in graphic design. Epting read of, and entered, a contest being held by indie comic publisher First Comics. The winner was to have their story published by First, although the contest was later revealed to not be real. Instead, First declared Epting a “winner” and hired the aspiring artist. His first assignment was illustrating backup stories for Nexus, fill-in duties on Dreadstar and Whisper. This led to two miniseries, Hammer of God and Hammer of God: Sword of Justice.
First Comics folded in early 1991, which left Epting searching for a new publisher. One of his submissions was to Marvel Comics, and Epting was soon assigned to a bi-weekly Avengers story. Originally he was only to draw three parts of the series, but instead worked on five of the six issues. This success led to Epting receiving the full-time artist position on The Avengers.
Epting was teamed with writer Bob Harras and inker/colorist Tom Palmer, an extended run that lasted thirty-two issues through many controversial story arcs. During this time, while Epting’s art was well received, the stories were deemed too dark and deviated from Avengers status quo.
In 1994 Epting shifted to the X-Men books, working briefly on X-Factor and various annuals, specials, and miniseries. Along with Bishop: X.S.E. and the Marvel/ Image Comics crossover Team X/Team 7, Epting illustrated Factor X during the Age of Apocalypse event.
Epting then collaborated with writer Roger Stern on The Invaders, a serialized story featured in Marvel’s short lived anthology Marvel Universe. The project allowed Epting to work with one of his heroes in the comic book industry, inker Al Williamson.
Steve Epting left Marvel for DC Comics in the later ‘90s, most notably on Aquaman with writer Dan Jurgens. Sales for the title had been on the decline even before the duo received the assignment, and the series was cancelled, ending with issue #75. Before leaving DC Epting spent time as the main artist for their flagship title, Superman.
He returned briefly to Marvel, illustrating the newly re-launched Avengers, teaming with Kurt Busiek. Before too long, Epting left again, joining the new independent publisher CrossGen.
At the ambitious fledgling publisher, Epting co-created Crux with Mark Waid. His next project was the heavily researched pirate adventure series El Cazador, co-created with Chuck Dixon. The title, considered a for both creators, was immediately doomed as the series was launched as CrossGen had just began to completely dissolve; the company had been experiencing financial hardship for some time. El Cazador was forced to end prematurely after only six issues.
Epting returned to Marvel once again, this time teaming with popular modern noir writer Ed Brubaker on Captain . The pair is responsible for the highly controversial issue #25, depicting the assassination of Captain America.
The creator team would continue to work together on The Marvels Project. The eight issue series focused on the origins of Timely Comics superheroes in the Marvel Universe, such as Captain America, Namor, The Human Torch, and The Angel.
Epting joined Jonathan Hickman
on Fantastic Four
with issue #583
. He continued his tendency to be associated with controversial story arcs, as the culmination of his first arc consisted of the death of Johnny Storm
, the Human Torch
. The Marvel flagship series ended then, but only to be re-launched and re-titled Future Foundation
soon after with the same creative team. Epting then returned to Fantastic Four with the issue 600 relaunch, doing some issues of both Fantastic Four and FF.