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.
Author: Jim Shooter Page 23 of 25
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.
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.)”
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.
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.
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.
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.
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.
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.