Writer. Creator. Large mammal.

Author: Jim Shooter Page 23 of 25

Thinking About Jack

All this talk about Jack Kirby recently has brought to mind so many of my experiences with him, every one of which was pleasant and positive. I edited the four books a month he wrote for Marvel for the last year and a half he worked there (with some help from assistants sometimes). The pages all smelled like cigar smoke. He wrote the dialogue and captions right on the penciled pages, sort of rough-lettering the book. He used exclamation points in bunches, sometimes a dozen at a time at the end of a sentence!!!!!!!!!!!  He misspelled some things — like everybody else — and occasionally misused a word. He used tons of bold words. He’d slightly over-estimate the size of the balloons, which meant that the inker sometimes had to extend backgrounds around the balloons, but it was insignificant, never a problem.

After I read each issue, I would call Jack and go over the corrections I proposed to make, mostly punctuation, spelling, grammar and such. I never messed with his intent, though a few (very few) times I caught a significant mistake and proposed a solution. I was as respectful and deferential as could be, as everyone should be when dealing with a King. Jack was the easiest-to-deal-with creator I ever worked with. He seemed to sincerely appreciate my help. He thanked me. He complimented me on my “catches.” Technically, by contract, he was the Editor of his own books. He could have refused any of my suggestions, but he never did.

The Spider-Man Musical That Might Have Been

Note from JayJay: Jim wrote the following recently and it appeared on the Bleeding Cool web site along with the entire script for the show. I’m reposting it here. You can read the script here on Bleeding Cool.

In the spring of 1987, lawyer Steve Massarsky closed a deal with Marvel Licensing for the live action performance rights for ALL Marvel characters for two years.  His intention was to produce a traveling children’s arena show.  He had previously tried to get the rights to the Cabbage Patch Kids and failed.  Massarsky had no experience as a producer and no credibility whatsoever as a licensee.  Nonetheless, he easily convinced Marvel’s licensing people to grant him the rights.  He paid an advance of only $25,000—put up by a friend in the smoke alarm business.  The Marvel licensing people had no idea of the value of the characters!  They thought they were stealing the money!

During the negotiations, one concern Massarsky had was finding someone who knew the characters to write the show.  The licensing people assured him that, once the deal closed, they would get Marvel’s “genius” Editor in Chief—that would be me—to find them a suitable writer.  The licensing people thought highly of me because I had helped them close many deals.  Taking me along to pitch to potential licensees, like Mattel, meant that they didn’t ever actually have to open a comic book, or have a clue who the characters were.  And I was great at selling the sizzle, the romance of the characters that I loved.

More Questions, More Answers

JayJay here, again. I’ve been sending Jim little comments and questions that I’ve read on various forums and on Twitter and he has agreed to respond to some of those as well as some of the blog comments.

Rick Bacon commented on a post:
“I don’t think I ever really knew that young Shooter’s work was so vital to his family’s well-being. Was there a story about ME Lad and family problems?”

There was, indeed.  It was one of the short LSH stories that appeared in Action Comics.  It wasn’t taken straight from my life, but let’s say it was “flavored” a little by my experiences, including my senior prom.

Keith Williams commented on a post (in reference to Regrets? and Mort’s behavior):
“Far be it from me to hypothesize that there might be any trace of exaggeration in that account… Still, he was no doubt vulnerable and easily demoralized in his youth, and probably did feel that he was being treated like that. (One might argue that it was a bit ironic that in later years he didn’t treat his own workforce better.)”

Questions and Answers

JayJay here. I’ve asked Jim to answer some of your recent questions. I’m glad you asked! I was curious about some of these things, too. Here are his answers. We will get to more questions in the future.

Marc Miyake said… (in Reference to Secrets of the Secret Wars)
Why was Mike Zeck the artist of the first SW? Given that many fans first got into comics through SW, that series was their first taste of his work – which was the case for me.

Mike was available and I thought he was capable.  Mike did great work on Master of Kung-Fu.  SW presented new challenges — designing alien things and doing vast-scope action.  The vast-scope action was new territory for Mike — MOKF and his other, previous work had been single characters, all up close and personal — so I actually thumbnailed some of the issues for him.  The design stuff he did brilliantly.  Witness the black Spider-Man costume.

More on the Kirby Controversy

JayJay here. Someone has stated that Kirby never actually filed a lawsuit against Marvel and has made a number of comments about Jim’s recollections. Here is his reply:

You may be correct, possibly the suit was never filed. I was Editor in Chief, not company counsel. Around the office, the matter was routinely referred to as the “Kirby lawsuit.” We certainly received a barrage of letters and demands from Kirby’s attorneys, many of which I saw.

If Jack and Roz had no interest in suing Marvel, you sure couldn’t tell that from Marvel’s POV. Their lawyers came at Marvel pretty aggressively.

I attended a panel at the San Diego Con, misleadingly titled, which turned out to be a Marvel-bash-fest MC’ed by Gary Groth. I don’t remember the year. ’79? ’80? Thereabouts. Groth opened with a diatribe against Marvel and its horrible unfairness to Jack. Then he turned the mic over to Jack. 

Secrets of the Secret Wars

The road that led to Marvel Super Heroes Secret Wars actually began when Kenner Toys licensed the DC Universe for a boys’ action figure line. Their competitor, Mattel, already had their He-Man action figure line, which was doing very well, but wanted to hedge the bet in case comic book character action figures became the rage. So, they came to Marvel to talk about licensing our characters. One thing they demanded of us was an “event,” a special publication or series to help launch the toy line. I offered an idea that was suggested by a dozen or so correspondents — usually younger ones — in the fan mail every day: one big, epic story with all (or many) of the heroes and villains in it. Everyone agreed.

We went through a number of ideas for names for the toy line and series. Mattel’s focus group tests indicated that kids reacted positively to the words “wars” and “secret.” Okay.

Mattel had a number of other requirements. Doctor Doom, they said, looked too medieval. His armor would have to be made more high-tech. So would Iron Man’s, because their focus groups indicated that kids reacted positively…etc. Okay.

They also said there had to be new fortresses, vehicles and weapons because they wanted playsets, higher price point merchandise and additional play value. Okay.

The Jack Kirby Artwork Return Controversy

Before the mid-seventies, no one got artwork returned. Actually, few cared about it. As the collector market grew stronger, and the artwork became valuable, artists started caring.

By the time I became editor in chief at Marvel in 1978 (and therefore was in a position to have a voice in the Marvel management), both Marvel and DC had instituted art return policies. Marvel’s, set up by Roy Thomas, gave writers a share of the pages. Go figure. As soon as I could, I changed that — one reason why a few writers like Moench and Thomas didn’t like me. Tough. I did what I believed was right.

Kirby worked for Marvel during that period and had art returned to him just like everybody else. The dispute arose over the old art, from before the return plan was instituted, which was in a warehouse.

I was on the side of Kirby and all the other old artists. I tried at every opportunity to convince Marvel’s brass to return the old artwork. There were many reasons cited by the corporate counsel, financial officer, etc. why this was a problem — i.e., the art could be considered an asset, and couldn’t be disposed of with no benefit to the stockholders of a publicly traded company, tax issues and lots of other nonsense.

Reminiscing About Jack Kirby

Back when Jack Kirby was doing the monster books in the 1950s. I thought they were great. I’d see these books, and the Kirby ones stood out. I’d never seen comics like that before. It made an impression on me. Jack’s, and Steve Ditko’s stuff, just made a tremendous impression.

Jack’s work had become somewhat unpopular when I started at Marvel in the mid 70’s. On the one hand, Jack was revered by a lot of the Marvel people; Len and Marv would just marvel at the pages. Basically, the fan in everyone who was old enough to have read FF #1 had this awe of his work and loved it. On the other hand, there was a lot of stuff that just wasn’t quite right about it, and it wasn’t selling. It was a disaster; we had single-digit sales figures for Captain America, and at that time the Marvel line average was up near 50%. Jack’s popularity had declined to amazingly low levels in terms of the new generation of comic book readers. Newsstand readers had a lot of turnover, and new readers coming in weren’t buying it.

The Mystery of the Missing Box of Marvel Artwork

Around about early 1978, Marvel’s warehouse got broken into and ransacked. Other than scattering artwork all over the floor–they apparently hadn’t taken any of it that we could tell–but this warehouse was a dump! It was completely unsafe; anybody could break in there. I went to the people that ran the warehouse and said, “I want that artwork all moved to my office.” So it was. You should’ve seen it. It was me in a little corner, and wall-to-wall files full of art, because my office was the safest place in the building. You had to go through three doors to get to my office: The front door, the door to the editorial suite, and then my door, and I was the only one who had a key. It was safer there than it was in the warehouse.

Then when Marvel moved, around the end of 1979, we got a brand new state-of-the-art safe warehouse, so the stuff was moved from my office to the new warehouse; except for one box, which for some reason was moved to the Marvel lunchroom. When I was made aware of that, I went to get Bernie, the office manager, and said, “That box goes to the warehouse right now!” I went back to my office, then Bernie came in a few minutes later and said he went to get the box and it wasn’t there. Somebody had obviously grabbed the box, went straight out to the freight elevator–which was near there–and was gone. I have no idea what it contained. There was probably Jack Kirby’s stuff in it among other things. To this day I have no idea who took it.

Hank Pym was Not a Wife-Beater

Back in 1981 I was writing the Avengers. Hank Pym aka Yellowjacket was married to Janet Van Dyne aka The Wasp and things had not been going well for him for a long time.Before I embarked on the storyline that led to the end of Hank Pym and Janet van Dyne’s marriage, I reread every single appearance of both characters.  His history was largely a litany of failure, always changing guises and switching back and forth from research to hero-ing because he wasn’t succeeding at either.  He was never the Avenger who saved the day at the end and usually the first knocked out or captured.  His most notable “achievement” in the lab was creating Ultron.  Meanwhile, his rich, beautiful wife succeeded in everything she tried.  She was also always flitting around his shoulders, flirting, saying things to prop up his ego.As I was developing the storyline, I discussed the potential pathology of their relationship with a psychologist who happened to be sitting next to me on a five-hour flight.  The story made sense, he thought.  I went ahead with it.  During the time the story was running, I got a great deal of hate mail.  It worried me enough to ask Stan what he thought.  He said he got the same kind of mail in the ‘60’s regarding Peter Parker’s various romantic travails.  He asked me how Avengers sales were doing.  They were in fact, increasing by 10,000 copies per issue.  Stan said that people obviously cared passionately about what was happening to Hank and Janet, as if they were real people.  That’s the key.  And he said, “Don’t worry about the mail.”

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