JimShooter.com – Page 16 – Writer. Creator. Large mammal.

Gerber and the Duck – Part 1

On August 1, 2011

Running a FowlThe first time I met Steve Gerber we had an argument.It was the summer of 1974. I had flown to New York to meet with Roy Thomas and other people at Marvel, looking for writing work. Roy offered me Man-Wolf, which Dave Kraft was giving up for some reason.

After meeting briefly with Roy, I went to lunch with a group of guys who either worked in the office or were hanging around waiting for a group of guys going to lunch to congeal. Among them was Steve Gerber. Who else? I’m not sure. A couple of people who were Marvel assistant editors at the time. Maybe another freelancer or two who happened to be in the office? There were at least six of us, maybe seven or eight. We went to a Brew & Burger or some such similarly classy establishment.

Of course, we talked comics.

And Gerber and I got into it.

More Strange Tales – President’s Day

By Jim Shooter

On July 29, 2011

In 03 Marvel Comics, Uncategorized

Galton the Clock-sucker Marvel moved from 575 Madison Avenue to 387 Park Avenue South in June of 1981 (I think. Anyone know for sure?).

The Mad Ave offices weren’t great. They were cramped and dingy and not well-suited to our purposes. And quickly becoming too small. We were growing fast.

The new offices were custom designed for us. Or, rather, for what the architect thought we were. I forget the guy’s name. I remember that he was completely bald, that’s about it. Anyway, he had his “vision” of what comic book publishing offices ought to be that was based on, I don’t know, maybe the offices of the Harvard Law Review. I was given a few opportunities to raise objections and make suggestions, and I headed off a few calamities, but when we moved in, there were still some problems and issues. Things that had to change.

Not-So-Secret Wars – Guest Post by JayJay

By JayJay Jackson

On July 28, 2011

In 13 Guest Posts

There was a sniper in the sales department of the Marvel Comics office.

We were hunkered down behind desks, chairs, filing cabinets but we were slowly getting picked off one by one. It was dark but a little light filtered in from the fluorescent lights of the editorial department behind us and from the windows the lights of New York city reached even to the tenth floor. We strained our eyes into the shadowy recesses, trying to see where the shots were coming from, but the sniper might as well have been Sue Storm.

So naturally we had to give up. Being all dead and all.

Jim Novak had started all of the trouble. He was the “miscreant” Jim mentioned in More Strange Tales: War at Marvel. Jim Novak, master letterer and major talent, was the production manager at the time. One day he brought in this cool pump action toy gun he had bought. It fired these soft rubber bullets and it was so cool! The bullpen and even some of the editors couldn’t stop playing with it. So, of course, we all had to have one. We plied Jim with money and waited anxiously until he went to the toy store again.

War was inevitable at that point.

Storytelling Rant

By Jim Shooter

On July 27, 2011

In 04 Storytelling Lecture, 10 Questions / Answers

JayJay here. In response to several comments about the state of storytelling in the business today, Jim wrote the following:

RE: Storytelling by artists. Too many artists these days have no understanding of how to convey information — that is, how to do their part of telling the story. Or they think it’s their job to make cool pictures and that’s all — explaining things is up to the writer — he or she can always add a caption or something. Some of them have that attitude even when it’s a full script! Or, they actively ignore what is called for and draw whatever the hell they want because they think story doesn’t matter.

Call for an establishing shot. They give you a big head shot. Tell them to draw figures in action. It’s a mile away or cropped to the point that it’s meaningless. Tell them to draw a close up. They think it’s time to do a direct overhead shot of the room that mostly features the floor. Give them ref, they ignore it and make something up. Don’t give them ref and they complain.

Sigh.

More Strange Tales – San Diego Comic-Con Memories

By Jim Shooter

On July 27, 2011

In 09 Reminiscences and Tributes

One of the Worst of Times – Slighting Russ Manning

I met Russ Manning at the Con in 1979, I think. I didn’t really have much of a chance to talk to him, just long enough to tell him how much I loved his work, how I relentlessly tracked down every issue of Magnus Robot Fighter. How many times had he heard that in the previous half-hour alone?

Anyway, just meeting him and shaking his hand was a great honor. He was very busy. Inundated by fans like me. He always took time to look at aspiring artists’ work and give them pointers and encouragement, so he was always mobbed.

Next year, I was at the Con again, as usual. I remember it had been a particularly long and tiring day. I was exhausted. As the show was closing, I dragged myself across the street from the old Convention Center to the Executive Hotel and shambled wearily into an elevator that was conveniently waiting. Or being held….

More Strange Tales – San Diego Comic-Con Memories

By Jim Shooter

On July 26, 2011

In 09 Reminiscences and Tributes, Uncategorized

West and Woody

At the 1980 Comic-Con I met Adam West.

I was a judge for the costume contest. Judges sat in a marked-off section of the front row. I arrived early. I’m almost always early for everything.

As the audience was streaming into the auditorium, a little girl came wandering down the aisle. I’m not good at guessing kids’ ages, but she couldn’t have been more than seven. All the seats near the front were already filled except for two judges’ seats next to me.

The little girl asked me if she could sit in one of the seats. I said that those seats belonged to two other judges who would probably show up soon, but she could sit there until they did.

I asked her name, which I forget, sorry, and where her parents were. She said her parents couldn’t come because they had to take care of their table in the dealers’ room until the room was locked up. But she wanted to see the costumes.

I asked if they knew where she was. No.

More Strange Tales: War at Marvel

By Jim Shooter

On July 25, 2011

In 03 Marvel Comics, Uncategorized

Cold War

While I was associate editor of Marvel, during 1976, I think, Marvel was rife with little fiefdoms in conflict. Vicious backbiting. Daily rants and rages. Petty office politics. Favoritism. Cronyism. Vendettas and vengeances.

Hunter S. Thompson’s Vegas had less fear and loathing.

It was almost as bad as the average middle-America amateur theater group.

The two major factions were the Roy Thomas camp and the Len Wein/Marv Wolfman camp.

Len and Marv were close friends and allies. So much so, they might as well have been joined at the hip. People around the office sometimes referred to them as LenMarv, as if they were a single entity. Generally when they were not in earshot. Sometimes when they were. They actually didn’t seem to mind so much, depending upon who was calling them that.

Len and Marv had taken turns being Editor in Chief. Marv was at the helm in early 1976.

Though it had been years since Roy had been Editor in Chief, he still had a great deal of clout. He still had Stan’s ear, for instance, and some cred upstairs. It was not a good idea to offend Roy, and a good thing to be in his good graces.

The Secret Origin and Gooey Death of the Marvel/DC Crossovers – Part Five, the Last

By Jim Shooter

On July 23, 2011

In 05 Secret Origins

And Then Things Got Ugly

Dick Giordano asked me to meet him for lunch on May 26th, I believe. He picked an Italian place on Madison Avenue near 42nd Street, about halfway between DC and Marvel’s offices.

He had this news: Gerry Conway had quit the project. Okay. Apparently Roy Thomas, however, had expressed interest in scripting the book. Fine, I said, but he’s going to have to start from scratch. First, we needed a new plot.

By the way, the Marvel Comics of the 1980’s site has it wrong. It says that Gerry was “…asked to plot the epic story with Roy Thomas providing the script.” No. Gerry was the intended writer, plot and script. When he bailed out, that’s when his friend Roy stepped up and volunteered to take over.

The purpose of the lunch was to convince me that Roy could save it in the dialogue. No, not even Roy could do that. Think of the plot as a thing meant to be an airplane, but one look told you it had no wings, no landing gear, no engine and no cockpit. What difference does it make if you have a great pilot?

The Secret Origin and Gooey Death of the Marvel/DC Crossovers – Part Four

By Jim Shooter

On July 21, 2011

In 05 Secret Origins

Batman/Hulk, Titans/Mutants and Are You Kidding?

Superman and Spider-Man succeeded beyond expectations, launching the Marvel/DC crossover series in spectacular fashion.

Next up, published in late 1981, I think, was Batman vs. the Incredible Hulk. Len Wein, DC’s top writer, who, of course, had written both characters, was the natural choice to write the book. Brilliant Jose Luis Garcia-Lopez penciled it and Dick Giordano inked it wonderfully. Great stuff.

Next, published in 1982, came the Uncanny X-Men and the New Teen Titans by Chris Claremont, Walt Simonson and Terry Austin. Great stuff.

It looked like we were getting the hang of it….

Then along came the Justice League of America vs. the Avengers.

The nightmare brouhaha it stirred up killed the series.

The Secret Origin and Gooey Death of the Marvel/DC Crossovers – Part Three

By Jim Shooter

On July 20, 2011

In 05 Secret Origins

The Urge to Kill. Twice.

The penciling on Superman and Spider-Man went pretty fast. John Buscema was amazing.

I drove out to John’s house in Port Jefferson on Long Island a couple of times for business reasons. I don’t remember what the business was but I clearly remember spending time with John, meeting his lovely wife and seeing their wonderful home.

He showed me his studio. John had a very set work routine. Start work early. Warm up for a while, doing little sketches just to get loose. Work a normal length day, eight hours, he said, as I recall, with a lunch break. And, at the end of each day, he’d have finished five or six beautiful pages. Some artists struggled to finish one page a day. Some couldn’t even do that much.