Marvel Comics: The End of the '70s
Problems with Artists and Editors Plague the Comics Giant
Aug 27, 2008
Beginning in 1973 with the departure from comics of artist Barry Windsor-Smith, an undercurrent of dissatisfaction began to sweep through the Marvel Comics artists. The feeling was that they were attempting to raise comics to a higher level of artistic style but were not being compensated for it or given the leeway to do so.
Art or Business?
Deadlines and the unvarying per page pay rate left many feeling that they were being encouraged to do a poorer job than they could just for profit’s sake. This sentiment would plague Marvel for nearly 15 years.
To add to the artistic discontent, there was the matter of who would be Marvel’s Editor in Chief. The job had been given to Roy Thomas when Stan Lee had vacated it in 1972, but he only lasted two years before stepping down to focus on his writing. Thomas was followed by Len Wein, who lasted a year, Marv Wolfman, who lasted a year, Gerry Conway, who only lasted a month, and Archie Goodwin, who lasted about a year.
Each of the four Editors in Chief before Goodwin had given themselves a writer/editor contract before stepping down so that they were the only ones editing their own books. The results left many books completely unchecked by outside sources.
Slumping Profits and Star Wars Saves the Day
To add to the strife at Marvel Comics, profits were beginning to drop. In an effort to stem the tide, Marvel’s owner, Cadence Industries, brought in a new President, James Galton. Galton had worked as a paperback book publisher and had a successful track record in business. He brought much needed experience to running Marvel.
Galton’s first changes were to reign in the philosophy of flooding the market based on new trends, leftover from when Martin Goodman ran the show, and to get the books back on a regular publication schedule. Galton’s changes began to turn Marvel around, but other factors, like the skyrocketing cost of paper, still kept their profits down.
Marvel’s salvation from financial woes ended up coming from an unexpected place, Hollywood. Roy Thomas had met with a young filmmaker who wanted Marvel to produce a mini-series of comic books about his upcoming film. The filmmaker, George Lucas, wanted the books to come out just prior to the film, in hopes of promoting it.
Thomas lobbied hard to get the book made, at a time when Galton was cutting back on new books, and the gamble paid off. The film, of course, was “Star Wars”, and its box office success translated directly into comics sales. The Star Wars mini-series sold over a million copies per issue, something that hadn’t been done since the Golden Age, and it put Marvel back on track.
Movies and Toys
Following the success of Star Wars, Marvel began to produce comics based on the similarly themed “Battlestar Galactica” and then on the “Star Trek” motion picture. Neither netted the sales of Star Wars, but both sold well.
Inspired by the sales movie licenses had netted them, Marvel licensed three different toy-lines to base comic books on: Micronauts, Shogun Warriors, and Rom. It was yet another success for Marvel and it set the tone for other licensed books to come in the ‘80s.
Lee and Kirby Do It Again
In 1978 the reunion that Marvel fans had been dying for finally happened. Stan Lee and Jack Kirby, who had created the Marvel Universe together 17 years earlier, reunited to create a 100 page story of the Silver Surfer. Titled eponymously, The Silver Surfer introduced an entirely new form of comic book. Printed on high quality paper, with a novel length tale, and bound more like a paperback than a comic book, The Silver Surfer pioneered the form that would later be known as the graphic novel.
An End to the Revolving Door
Marvel’s problem of Editor in Chief attrition found a solution in 1978 when Jim Shooter settled into the position. Shooter had been writing for rival DC Comics since he was 16. He’d come over to Marvel as an Assistant Editor, but his skill and passion soon brought him into the head position. Shooter had big plans for Marvel, and he set out immediately to work with James Galton on getting them accomplished.
Marvel had weathered yet another storm and come out on top
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Marvel Comics: The Early '80s Business Side
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