The innovative artist's early work turned Moon Knight into a best-seller for Marvel in the 80s and laid the groundwork for a 40-year run.
Because I was so young and inexperienced, I wasn’t really expecting to get work from Marvel, so my whole portfolio was full of DC characters, especially ones that Neal Adams had made popular like Green Lantern and Batman. The editors saw it and figured they should start me out on a character that was the closest thing they had to Batman, which was Moon Knight.Only in a design sense, because they thought I’d do well drawing the long flowy cape and the athletic poses.
Doug is a great friend and very much a professional, but I always felt bad for him having the thankless task of breaking in the new guy! He had his own way of working. Usually at Marvel, the writer would give the artist a plot, the artist would draw the pages, and then the writer would add dialogue to the art. Doug didn’t really trust me to do that at first, so he’d give me full scripts that described everything panel by panel.
I think that the idea of working with Doug now on a run revisiting the character, or something like that, might be interesting to see how that would work out. I think it would be a lot more fun considering he wouldn’t need to hold my hand or wait for the training wheels to come off.I started to get more involved with the issues that introduced Morpheus and Black Spectre and Stained Glass Scarlet, but think my biggest contribution to the series was a story I did called “Hit It.
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