Search Results

The "invisible editor" of X-Men and New Mutants reflects on the editorial philosophy behind the Mutant Massacre, arguing the paranoid witch-hunt storyline had to escalate to a full combat footing or risk becoming repetitive. She articulates the thematic difference between the X-Men (graduates, day-to-day combat leaders) and the New Mutants (kids who screw up), describes efforts to separate the two books' universes and ground the New Mutants in age-appropriate activities, and credits Chris Claremont as the primary story architect.

Marvel's colorist discusses his path into the field through George Roussos's coloring department, his love of the job despite time pressures, and his advocacy for greater use of zip-a-tone overlays to add texture and depth beyond standard color-on-black-and-white art. Gives a colorful behind-the-scenes account of the Spider-Woman #50 photo cover shoot, where the Marvel Bullpen — Mark Gruenwald, Mike Carlin, Ann Nocenti, and others — dressed in costume and posed on a fire escape in January, with Bob Camp nearly falling off. Explains the practical challenges of coloring characters like the Hulk against green foliage and names Doctor Strange as his favorite assignment for its opportunities to create weird lighting effects.

Now transitioning from editor to writer, "Weezie" Simonson looks back on editing Marvel's most successful titles — including X-Men, New Mutants, and Star Wars — and shares data-rich insights into the comics market: X-Men sells equally well on the newsstand and through direct sales and has confounded predictions of decline for four consecutive years, while Star Wars sells primarily to a newsstand (younger, non-specialist) audience. She discusses the breakout sales phenomenon of Walt Simonson's Thor run, which quadrupled its readership in just four issues, and reflects on what makes the X-Men appealing: Claremont's deep investment in characterization over any single creative team. On her writing career, she talks about Power Pack, the inspirations behind the characters (including naming Julie Power after her own daughter), and her theory — elaborated memorably with Ann Nocenti present — that a Catholic education uniquely prepares one for comic-book writing by instilling a strong sense of myth, moral duality, and magnificent villainy.

Silvestri recounts his path from DC anthology work and Conan to landing Uncanny X-Men through editor Ann Nocenti, and discusses working with writer Chris Claremont on the twice-monthly schedule and the Australian storyline arc. He talks about the book's wide readership demographics, his admiration for artists like Buscema and Mignola, and his interest in eventually pitching an original project with his brother.

The husband-and-wife team discuss their collaboration on X-Factor and the logistics of coordinating the sprawling Mutant Massacre crossover with Claremont, Nocenti, and others. Louise explains her plans to reveal that the original X-Men are dangerously underpowered relative to modern threats, detailing the deliberate destruction of Angel's wings and wealth as a character-study exercise, and previews Apocalypse and the Four Horsemen as upcoming antagonists. Walt announces he is stepping down as Thor writer after nearly four years and intends to take a break before embarking on a graphic novel based on Russian folk and fairy tales.