1981 - Uncanny creative differences

I left, as I have stated many, many, MANY times, because I finally hit the end of my rope when it came to Chris and me (and sometimes Chris on his own, and sometimes me on my own) plotting out very specific scenes for very specific purposes in advancing the story, then seeing the finished issue and finding Chris had scripted the scene as something else entirely.

Shooter, at one point, had offered me script approval -- I would be sent a copy of Chris' script to "edit" before it went to the letterer -- but that sounded like too much extra work, especially since I would be expected to do it gratis. So, since I was already set to write the FF, with Bill continuing to pencil, when Bill decided to go with Doug over to MOON KNIGHT, I decided to pencil FF, too.

There was never so much as a single instance of me wanting to do something, Chris wanting to do something else, and Weezie choosing Chris' idea over mine.

 http://www.byrnerobotics.com/forum/forum_posts.asp?TID=35290&TPN=16

From "Comics Creators On X-Men" (Titan Books - 2006):

Why did you leave X-Men at that point?

John Byrne: I know exactly why. Chris and I were getting further and further apart on who the characters were, and what the characters were about. When Roger Stern was our editor, he worked closely with Chris, to make sure the stories came out as close to what Chris and I plotted as possible. Jim Salicrup, who replaced Roger, sort of leaned in my camp. Then Louise Simonson came in as the editor and she came from the school of thought that says the writer is the important guy. All of a sudden, I had no power. I started to develop what I call my 'Argh' moment -- which is, 'How deep can I delve into this issue before I hit something that makes me go, "Argh!"?' There was one particular issue [X-Men #140] where Colossus is pulling a tree trunk out of the ground with a chain on the splash page, and I went, 'Argh!' right on the splash page because of the way Chris wrote it. I said, 'Okay, this is obviously telling me it's time to go.' There was also a little piece off to one side where Chris and I had argued a great deal about who the characters were and how the characters act, and what they say and what they do and I realised that the Chris version of the characters was what was seeing print. They way Chris wrote it was what was seeing print, regardless of what I thought it was in my head while I was drawing the pages. So if I didn't like what Chris was doing, that meant I didn't like the characters. So when I hit that 'Argh' moment, I basically picked up the phone and called Louise and said, 'I can't do this any more.' I was originally going to stay on for another couple of issues, but ultimately I didn't. The characters deserved better than for me to turn in what was going to be a whole lost less than my best work. So I just left.

From Byrne Robotics in 2010:

>>The way you've described it, JB, you really didn't get tired of the X-Men, just aspects of the collaboration.
Byrne: Yes and no. I certainly grew tired of plotting one thing, and then having Chris script it as something else. That rather goes against the notion of a "collaboration".

But I did get tired of THOSE X-Men. As I've noted elsewhere, I strongly disagreed with Chris' characterizations, and, eventually, I realized that since those were what was seeing print, those were who the characters "really" were. So if I didn't like what Chris was writing, I didn't like the characters!

1988 - Orphan Maker Early Design Sketches by Walt Simonson

Grabbed frm The Official Walter Simonson Page:

"The Orphan Maker. Pencil. 8.5 x 11. c. 1988. A character from the X-Factors I drew for Weezie. I liked this guy. He was about 7' tall or a tad more, but was proportioned like a young child. I don't think that ever really registered on anybody else, but I thought it was pretty neat. Apparently, I drew a simple normal-sized human manikin to the left for scale."

1980 - Uncanny X-Men #140

John Byrne:

"Every issue there would be what I called my “ARGH!!” moment, when I came across something Chris had written that went against what I had drawn, or what we had plotted. The cumulative effect was numbing to say the least. Here I went “ARGH!” on the very first page

Can you tell why?

"Specifically, it was the way I had drawn Colossus easily ripping that stump out of the ground, replete with flying clumps of earth and speed lines versus the way Chris scripted it. I saw that page, printed, and just threw up my hands. “Can’t do this any more!”

"I called Weezi [Louise Simonson] (then the editor of Uncanny ) the same day, to resign.

(http://www.network54.com/Forum/248951/thread/1059755677/last-1059782215/Art+stuff)

1983 - The Origins of Mohawk Storm

From Paul Smith’s blog:

Towards the end of my X-Run, Weezie (editor Louise Jones), and hubby, Walt Simonson, go on vacation. They leave daughter Julie behind (there’s a movie in there somewhere). Upon departure, Walt sported the hirsute look we’ve all come to know and love. Upon his return, not so much. Somewhere in-between he’d undergone a tonsorial transformation of titanic proportion. He was now pink faced! Beard and mustache… gone.  

Daughter Julie is not amused. She runs from the room. That’s not Daddy, that’s one of the pod-people! 

Chris thinks this is story gold. He puts Storm through her paces. She loses her powers. She loses her nerve. She gets blowed up. Her powers attack her. But that ain’t the worst of it. She loses huge chunks of her beautiful hair! Storm needs a stylist. I do a number of different styles and AS A JOKE, I include a Mr T mohawk for laughs and giggles. Chris and Weezie fail to laugh and latch on to it immediately (d’oh!) I argue as best I can but, my run is essentially over. My vote doesn’t count. Weezie says (and this is pretty much a quote) “We’re going to get hung no matter what we do. We may as well commit the murder.”

Stuck with the mohawk, I do my best to make it work. Once the style is set, I determine she needs leathers to pull it off. Punk Storm is born.

1991 - The Power Pack TV Series That Never Happened

From Comic Scene #20:

 And here's a peak at the pilot:

 

Happy Birthday Louise (Jones) Simonson

From Peter Sanderson's Facebook page:

"And happy birthday to comics editor and writer Louise Simonson, co-creator of "Power Pack" and Steel, writer on "X-Factor," "The New Mutants," and "Superman: The Man of Steel," and doppelganger of both Power Pack's mother, Margaret Power, and the heroine of the first "Swamp Thing" story."

1980 - Battlestar Galactica #19 script page

Shared from the Walt Simonson Appreciation Facebook page:

" Battlestar Galactica 19, pg. 1. c. spring, 1980. Script sheet. 

Came across this in an old box of comics files. This is the first page of script I ever wrote for comics professionally for a regular title. My first gig as a writer of a monthly book turned out to be four of the last five issues of BG.

Don't know who wrote 'Joe Rosen' but it might have been Weezie as she was the editor of the book. Could have been her assistant at the time, but I'm not sure who that was then.
This one image postdates the Gallery's range slightly, but as my earliest bit of regular writing in comics, Old Stuff still seemed like the best place to put it."

Spotlight on the Simonsons - Fan Expo 2013

Spotlight on the Simonsons
Fan Expo 2013
Friday, Aug 23 - 12:30pm

Here's the audio recording of the panel:

Unfortunately for some unknown reason, this panel was scheduled for only half an hour. The moderator wisely skipped any introduction or spotlight material and immediately opened the floor to questions.

The first question was about Beta Ray Bill (first appearance in Thor #337, Nov. 1983) which was punctuated by a cosplayer donning an impressive homemade Bill costume. Walt explained that he had carte blanche with the title and wanted to create a new hero who was worthy of the inscription on Mjolnir, Thor’s hammer,

When asked about the reaction to the Thor Frog story line (Thor #364, Feb. 1985), Walt basically said that there was no negative reaction although there were a few letters asking him if what was happening was for real. He also noted that in those days, the majority of fan letters were positive, while now most of the fan reaction online seems to be negative. The Thor Frog storyline was an homage to Carl Barks (creator of Donald Duck and Scrooge) and that he liked the fairy tale twist with the prince (Thor) being turning into the frog.

Walt talked about his upcoming IDW comic, Ragnarok, which will feature his own take on the Norse Myths. The basic premise is that Ragnarok, the Twilight of the Gods, happened without Thor and the bad guys won. Two hundred years later, Thor returns and is out for revenge.

Louise talked about the Death of Superman in the 1990s and how much fun it was working on such a collaborative group of Superman titles. She praised editor Mike Carlin for his efforts in coordinating the weekly books. She also talked about how it was the Funeral for a Friend storyline afterwards that had interested her more than the Death of Superman.

I asked them what it was like working together and they both agreed that it was a fun experience and that they fed off each other’s creative energies. When co-writing the Wolverine and Havok limited series in 1989, they would each take turns at the typewriter and write until they got tired and the other would take over.

At the top of the hour, the questions kept coming and the Simonsons kept answering. The panel ran over, delaying the Neal Adams panel. When Walt heard that it was Neal waiting, he jovially yelled out “Tell Neal to get lost!”

What came through in this intimate and interactive panel was the approachability and neighbors-next-door feeling that radiated from the Simonsons. Two individuals whose lives have been intertwined with comics for 50 years and clearly still love the medium.

1979 - Louise Jones Joins Marvel Comics

Thanks to Ferran Delgado for the scan.

1983 - Marvel Bullpen

(https://www.facebook.com/photo.php?fbid=181632395306124&set=a.149835565152474.30786.149818748487489&type=1&permPage=1)

Bottom: Larry Hama, Al Milgrom, Tom DeFalco, Ralph Macchio. Middle: Denny O'Neil, Mark Gruenwald, Carl Potts.

Top: Archie Goodwin, Louise ("Weezie") Jones/Simonson.

Jim Shooter standing in back.

Taken in early '83, 11th floor conference room at Marvel's 387 Park Ave. South offices.
    - Carl Potts

1991 - Power Pack TV Pilot

Here's part 1:
 
Part 2:



 Part 3:
 

Marvel Comics - February 2013 Collected Editions Solicitations - 1980s goodness

Another light month... so I had to pull in the 1990s with the New Warriors Omnibus.

NEW WARRIORS OMNIBUS VOL. 1 HC YOUNG COVER
Written by FABIAN NICIEZA, ERIC FEIN, DAN SLOTT, TOM DEFALCO & DAVID MICHELINIE
Penciled by MARK BAGLEY, CHRIS MARRINAN, DARICK ROBERTSON, TOM MORGAN, BRANDON PETERSON, STEVE BUCCELLATO, STEVE EPTING, RON FRENZ, GUANG YAP, TOM RANEY, TERRY SHOEMAKER & SCOTT MCDANIEL
Young, idealistic heroes Marvel Boy, Firestar, Nova, Namorita, Speedball and the mysterious Night Thrasher join forces as the New Warriors — determined to make a difference and fight the kinds of crime other heroes won’t touch! But as the naïve Warriors dig deeper into a world of grey areas and moral compromises, can they maintain their youthful ideals? And with foes like Terrax, the Juggernaut, Psionex, the Punisher, the Sphinx and more — along with a shocking threat from within — can they even stay alive? Guest-starring Thor, X-Force, the Fantastic Four, Spider-Man and more! Collecting NEW WARRIORS (1990) #1-26 and ANNUAL #1-2; AVENGERS (1963) #341-342; and material from THOR (1966) #411-412, NEW MUTANTS ANNUAL #7, X-MEN ANNUAL (1970) #15, X-FACTOR ANNUAL #6, AMAZING SPIDER-MAN ANNUAL (1964) #26, SPECTACULAR SPIDER-MAN ANNUAL #12 and WEB OF SPIDER-MAN ANNUAL #8.
1064 PGS./Rated T ...$99.99

POWER PACK CLASSIC VOL. 4 TPB
Written by LOUISE SIMONSON, HOWARD MACKIE, JON BOGDANOVE & TERRY AUSTIN
Penciled by JON BOGDANOVE, TERRY SHOEMAKER, VAL MAYERIK, LARRY ALEXANDER, LOUIS WILLIAMS & JUNE BRIGMAN
The Pack is back! Marvel’s youngest super-team — and Franklin Richards, too! — must grow up quickly when they get caught up in the Mutant Massacre, break into Avengers Mansion, battle the Hobgoblin, deal with the harsh realities of drugs, clash with the New Mutants, fight Apocalypse’s Horsemen during the Fall of the Mutants, tackle an enormous Sentinel and face down the Punisher! Not to mention mastering a new set of powers! Good thing the maniacal Madcap is on hand to lighten things up! Guest-starring Cloak and Dagger, the Fantastic Four, Spider-Man, and X-Factor! Collecting POWER PACK (1984) #27-36 and material from STRANGE TALES (1987) #13-14.
272 PGS./Rated T ...$29.99

1984 - Starriors

Covers by Bill Sienkiewicz.

Written by Louise Simonson

Penciled by Michael Chen

Inked by Ian Akin & Brian Garvey

An ad for the actual toys:

1989 - Lost Magma story

The synopsis for New Mutants #81 from Marvel Age #79, read:

“What if the prince of your dreams turned out to be a nightmare? For Amara, that’s exactly what she faces – for the prince she’s being forced to marry is a vampire! Will the New Mutants be able to rescue her from an undead fate worse than death? Written by Louise Simonson, pencilled by Bret Blevins, and inked by Al Williamson.”

The following month in Marvel Age #80, the synopsis for New Mutants #82 read:

“Is Amara falling in love with the vampire she’s being forced to marry? Her change of heart makes matters worse for everyone! In fact, the New Mutants may not survive the latest challenge to the wedding! Written by Louise Simonson and pencilled by Rob Liefeld.”

That storyline never happened as New Mutants #81 was a fill-in and #82 continued Louise Simonson's telling of the New Mutants' return to Asagard. So there must have been some kind of delay with Rob Liefeld who didn't start on the New Mutants until #86 in 1990.

1984 - Phoenix: The Untold Story - The Dark Phoenix Tapes

These pages were taken from the backup feature in the Phoenix: The Untold Story one-shot from 1984.

1986 – X-Factor

X-Factor - #1-6, Annual #1

February-October 1986

Writer: Bob Layton/Jackson Guice

Art: Jackson Guice/Keith Pollard/Joe Rubinstein/Bob Layton

Unfortunately in late 1985, Jim Shooter approved the X-Factor story line that reunited the original X-Men and would resurrect Jean Grey. The blame for bringing back Jean Grey has passed between John Byrne, Chris Claremont, and Jim Shooter like a hot potato.

Claremont didn't like the idea at all and approached Shooter. However, according to Claremont, Shooter “felt the marketing arguments in favor of resurrecting Jean far outweighed what I felt was the critical damage being done to the canon.”

In an interview with Comic Book Resources, Bob Layton had the following to say about Jean's return:

"I have to give the credit/blame to John Byrne. In the initial premise that Jackson Guice and I submitted, Jean Grey was not part of the group. Mike Carlin, editor at the time, pulled me aside one day and said "Hey, how would you like to have ALL of the original X-Men back?"  Apparently John Byrne had come up with a way to revive her and, of course, why would I refuse to use her?

Was bringing Jean Grey back a mistake? In my opinion, absolutely. There's no question that this was a bad idea, but financially Marvel couldn't pass up the opportunity to make wads of cash. They compromised one of Marvel's greatest story lines to make money."

The biggest casualty in bringing back Jean Grey wasn't Jean, but rather Cyclops. Scott Summers was portrayed rather pathetically in that he abandoned his wife and child to go gallivanting around with an old flame, with whom he avoided mentioning that he was married.

While I have to admit it was fun to see the original X-Men together horsing around, Iceman and Beast hanging out together, and setting up that familiar love triangle between Angel and Cyclops. But, I wonder if they would have been better off setting up Angel with Jean and reuniting Cyclops with his wife?

With that said, the basic idea behind X-Factor was a clever one. Taking advantage of mutant hysteria to locate mutants under the guise of a mutant-hunting organization was solid, especially when they got concern that their goal was fostering more mutant prejudice.

The X-Factor event started in Avengers #263, which had the Avengers come across a mysterious cocoon, and Fantastic Four #286, which freed Jean Grey from the cocoon and realized what the Phoenix entity had done to her.

X-Factor #1 brought together the original X-Men and they decided to form the X-Factor organization under the watchful eye of Cameron Hodge, who would later become a thorn in their side.  Their first story arc had them track down a young pyrokinetic, Rusty Collins. Their second story arc led them into a confrontation with the mysterious Apocalypse and his Alliance of Evil. X-Factor #6 introduced Apocalypse (he did have a brief cameo in the shadows of issue #5) who would go on and become one of the X-Men's deadliest foes.

The creators of X-Factor didn't stay onboard for very long. Creative differences were stated as the reason for Layon's departure, as well as deadline problems, according to Louise Simonson.

Bob Layton stated it was mostly politics, so much so that he was never asked to do any other X-book.

In X-Factor #5's next issue blurb, a special note announces that "creator/writer Bob Layton takes leave of X-Factor". Louise Simonson took the helm as X-Factor's new writer and stay on for several years. Jackson Guice left the book with issue #7.