Hi Bob,

I was hoping you might give me a little advice, as an aspiring writer of comics.  When working as an editor, what did you look for from a writer or pitch?  Was it the high concept, the hook, a strong beginning/middle/end, or some other factors that made you choose a particular writer or storyline?

Thanks for the time,

Chris Murrin

Chris,

Primarily, when reading or listening to a pitch by a writer, the thing I looked for was (A)  if the writer understood the character and (B) if his concept broadened the scope of the character as a result of his storyline.

The thing that turned me off the most was situation-driven stories that whose conflict had no lasting consequences to the character.  A lot of guys would pitch stuff like: "X-O fights Ax--but in the Taj Mahal! X-O has to stop Ax from damaging this glorious wonder of the world."  Well--that's a dilemma...not a conflict and, although it might sadden him,  it would be no skin off X-O's nose if the Taj Mahal was destroyed as a consequence of their battle.

I recall that the Spider-Man Graphic Novel "Gilded Cage" that I pitched to Marvel back in the eighties (with art by Paul Smith and Barry Windsor Smith) was ultimately rejected (even after half of it had been penciled) because the editor felt that the character of Peter Parker would have been changed too drastically by the resolution of the conflict I presented (in the story, Parker had an affair with the wife of a Mafia Don).  So--that door can swing both ways.  So be careful.

Mostly, I looked for character-driven stories, tales that exposed little-seen or brand-new aspects of the character. Internal conflicts seem to manifest themselves outwardly in the course of a story as a natural consequence.

I hope my response to your question helped.

Best wishes,

Dear Bob,
I have been a fan of yours for years and your work on Iron Man in the 80's definitely was an influence.  I was reading your current thoughts on the latest versions of the armor I cannot agree more.  They look bulky and ridiculous.  Tony Stark in the Marvel Universe created Nano technology which now is a reality that IBM has actually developed.  It puts gears and
circuitry on the atomic level. It will eventually be first used in military and then in the real world. Jets will have carbon fiber skins of that will work like a nervous system.  If there is a tear in the wing, the cpu will tell you exactly where. 

It would make no sense Iron Man would look like a tank or jet airplane. 

Rodney Dube'

I appreciated your comments on Iron Man.  Good to know I'm not alone in my philosophy. I couldn't agree with you more.

Hey Bob,
Another item I asked you about a few months ago was adding a Bob Layton Checklist to your site. This won't be too much of a help, but at this site they have a pretty detailed listing for Marvel Comics creators. (Did I send you this link already?)
Lastly Bob, have you considered putting together a Bob Layton Sketchbook collecting images of your published comic art and commissions? Mike Zeck did an excellent one recently. I've been picking up a few recently and Bob's is one on the best ones. Steve Rude also produced a quality sketchbook too. If you do it, save a low numbered one for me!!

Gary Sella

Gary,
Those are all terrific suggestions.  I wouldn't mind purchasing one of the Mike Zeck sketchbooks myself.
I'll look into the production costs and see if it's feasible for me to do sometime in the near future.
That checklist was an awesome find.  I'm going to forward it to Mike Kalibabky and see if he can complete it by adding the DC, Charlton and independent publishers.  If he can do that, I'll create a new page on my site for it.  Thanks for the suggestion.

You're a pal.

Ah tragedy! 

With the publication of Part 2 of the excellent Metallix #7, we reach (I think?) the end of any new Future Comics material for now.  Thank you Bob (and Dave) for taking the time this year to give us Future Comics fans just a little bit more!  The insight into where the various series were going makes it all the more unfortunate that things had to come to an end.  As I mentioned in my first letter earlier this year, Future Comics brought me back to comic books after a nearly 20 year absence.  It was a great brand and I hope to see it return someday soon.

Thanks,

Tim Thomas

Hey Tim,

Here's a big surprise for you. That wasn't the end of the unpublished Future Comics material.  This month, I'm presenting Deathmask #5 --which concludes our first story arc for that series and ends with a startling revelation about a couple the characters.  Check out the link for it on this month's features page.

Hey Bob,
We survived Wilma okay, but the power situation is keeping schools closed, thousands without power and more.  My fiancée and I have power and I've been working out of town, so that helps, though my regular gig at a film school has been out for two weeks now (if not three if things
don't shape up next week).  Unlike last year, when I was out of work for a month following Frances and Jeanne, things now are all right.  Glad to see you and your wife did okay!
My question to you this month is probably an echo of questions you get all the time.  Why are comics written so badly today?  I understand the 6-issue TPB deal that's plagued Marvel for a few years now, which leads to stretching out a storyline too much.  But when you read Iron Man, as it comes out every 3-4 months, it has a lame opening, all pointless dialogue, nothing moving the story forward, an action scene at the end that's a bad attempt to make the comic exciting, and an overall sense of preachiness (political or otherwise).
I feel that aside from one or two writers, Marvel (and to a lesser extent, DC) are relying on these guys and gals that want to make talkie comics that are boring and go nowhere, not to mention way to preachy.  When I read Iron Man, I want action, adventure and more.  I want to be grabbed by the throat on page one.  I don't want someone saying Tony Stark can't have any mention of his wealth and so on.
I've given up on comics for a while and am re-re-re-reading old favorites.  BTW, I'm attaching a photo of an Iron Man tattoo I had done almost two years ago.  David Michelinie liked it but wondered why I didn't choose a Layton drawing.  Good point, David!
Thanks,
Heath McKnight
Wellington, Florida

P.S.: If I were casting the Iron Man movie, I'd have chosen the less obvious Max von Sydow as Justin Hammer, but Cushing is an amazing inspiration!  And 10 years ago, I wanted the talented Ralph Fiennes as Stark.  Now, I don't know who'd.

Heath,

Why are comics written so badly today?  While a lot of us spent most of our careers working at perfecting our craft—those values are not held in such high regard by the current publishers who place little emphasis on the esthetics.

At times, I can't help but feel that the art of storytelling being compromised or disposed of all together.

I personally feel it would be better to go down fighting than compromise the fundamentals of good storytelling. That’s why I have little interest in working in mainstream comics these days. In my opinion, the comic companies have thrown out “the baby with the bathwater.” That, combined with the knowledge that today's characters tend to be written to behave in an almost immoral manner.

Comics are a unique medium that combines the written word with the visual concept. Comics are the modern mythology that we, as a society, template our fears and dreams upon.

Comics are universal power fantasy we all dream of—to have the ability to soar above our problems-- or pummel them into dust. Characters without moral values cloud that magic and sense of wonder.
That’s why I’ve become far more ‘bullish’ on the independent publishers in recent years.
For some reason, the majority of writers in the today's comics business think they are re-inventing the wheel every month.
The truth is that a lot of them have simply learned their craft from reading a lot of comics as kids and are now merely regurgitating all their favorite stories from the past five degrees to the left or the right.

It's unfortunate but comics are now being written by former hardcore fans for the current crop of fans.  Even so, I have thirty years of comics experience behind me but I generally can’t read most of the new stuff. With rare exceptions, most of today’s mainstream comics are…simply dreadful.
The current generation of writers simply don’t have the same skills or training that the iconic writers of the comics industry possessed in days gone by.

Accessibility to a general audience is something that has to change in order for the comics industry, and the monthly periodical, to succeed in the long term.  What the industry needs to do is to create comics that would be easily accessible to the general public, defying the convoluted and trendy storytelling that makes today’s products confusing.
I’m honored that you remember our work on Iron Man so fondly, Heath. But, it also reinforces my argument about the current mainstream books being lame, when what is considered your  " favorites” were done over 25 years ago. 
BTW: That tat is totally insane, Heath!

Hello Mr. Bob Layton,

Being an old-time comic fan from (West) Berlin, Germany (for example, beginning at the age of 14 (1972) I changed most of my money into US dollars and went to the local US army PX to buy my weekly dose of fresh US Comics at the Stars and Stripes shop - it simply worked because this was the only part of the PX where they did not ask for an ID... worked until the terrorists came, but this is another story. I just stumbled upon your press conference info concerning the end of Future Comics and from there to your home and archive pages.

I had bought all published issues from FUTURE comics at the FUTURE comics web shop in 2003 and was quite sad to see another really promising concept end much to quick. After reading the press conference info I finally understand why this had happened.

Despite the sad end of Future Comics, being able to read the next issues of Deathmask, Freemind and Metallix is like a little dream come true-- thanks to you!

Sadly, none of the 22 pages of the never published Peacekeeper #1 are loading (the links from the March to May 2005 archives pages seem not to work anymore). It was already very interesting to read about the concept and imagine what this series would have been, although it would naturally be much better if you please could be so kind and make the 22 pages of the first issue of Peacekeeper available again!

Thank you very much in advance!!!

And one question:

Would it not have been a possibility to continue all 4 Future Comics series through Image or another publisher? Please excuse if this question may seem too naive, but concerning comic industry politics, I'm just an outsider, just a lifelong comic fan still hoping...

My best wishes for you, your family and work,

Volker Schramm

Volker,

We recently have a server crash that forced us to recreate the entire boblayton.com site.  Week by week, were working to get all the links back up and running.

Please be patient while we fix the problem.  We should have the Peacekeeper #1 pages back up soon.

Currently, I'm working with an independent publisher to bring some of the Future material back in print.  I'll be sure to post any progress towards that end on my site.

Thanks so much for writing me.

Mr. Layton,
I as just looking over information about Valiant books that were supposed to be released and weren't. You are listed as being scheduled to do the cover for the Timewalker Trade Paperback. Do you remember if you ended up completing this cover and if so do you have a scan of it? I would really LOVE to see it! I always enjoy seeing more of your great works and seeing something Valiant related makes it more special in my eyes.
Thanks - you're the best!
Chris Gould

(Also a HUGE Ivar fan)

Chris,
I believe I gave that cover original to Valiant's  Administrative assistant Paul Fairchild as a parting gift when he left the company.

I don't have a copy of that cover, so you'd have to contact him.

Bob,

Could you add your thoughts or plans for this solicited series-- TIMEWALKER: Fall of the Timeshapers by Bob Layton?  I’m not sure exactly what this one was supposed to be about, but I have a sneaking suspicion it would have revealed the origin of the Chaos Effect.

Thanks,

John Helmer

John,

To be perfectly honest, I can't remember the entire plot. What I do remember is that it had to do with the great disasters throughout history and the fact that they were manufactured by a group of necromancer/engineers who gained power from the massive death energy of the event. I've been looking for the document for months now but I can't seem to locate it in my files.

However, I KNOW it wasn't about the Chaos Effect.

Sorry I couldn't be of more help.

BY MIKE KALIBABKY

You’ve publicly stated that your DOCTOR TOMORROW (September 1997-March 1998) maxi-series for Acclaim-Valiant was a low point in your career. I couldn¹t disagree more. In fact, I¹d consider the 11-issue epic a high water mark for you; perhaps even a masterpiece. The series combines an intricate time-travel/superhero romp through American history from 1942 to the present day (1998), often satirically exploring politics & popular culture (which immediately brought to mind THE BAD EGGS) and war. But what makes the series even more exemplary is that the story is split into specific decades, decades which highlight the career of a master comics artist/creator through each issue¹s artwork mimicry of that specific creator¹s art style, as a tribute and dedication. Brilliant, clever, and refreshing: #1, Jack Kirby; #2, Will Eisner; #3, Joe Kubert; #4, Wally Wood; #5, Alex Toth; #6, Dick Giordano (who penciled the issue); #7, Neal Adams (this issue¹s cover includes a graphic of Joe Namath -- coincidence?); #8, Gil Kane (who supplied the cover artwork); #9, John Byrne; #10, Frank Miller; and, #11, the founders of Image Comics.
Each issue of DOCTOR TOMORROW also includes an informative essay on the honored creator¹s background.
Sadly, the series ended with a ‘cliffhanger’... because you didn¹t write the final issue, #12, which I didn¹t bother to seek out.
I urge every Bob Layton fan to get out there and dig up these issues and then enjoy a well-written, well-crafted, and innovative piece of comic book history in and of itself. I re-read this series once a year and discover something new each time.
   
The questions:

1. Where did the idea of the DOCTOR TOMORROW originate, and how much free reign did you have in developing it without editorial interference? Obviously your fondness for American history shines through, along with a fascination with Orson Welles.

1.Mike, the original idea actually came from a conversation I had with Fabian Nicieza while walking to a lunch appointment.  The deal with my creating Dr. Tomorrow was part of the settlement of my lawsuit with Acclaim for ‘obstruction of duties’.  In order to look like ‘one, big, happy family’, Acclaim’s lawyers insisted that I stay on at the company for one year as a writer—in order to give the public impression that the settlement was amiable.

 Anyway--Fabian suggested that I do something that was sweeping in scope, encompassing the entire timeline of the V2 universe and that had a definitive ending.  After that meeting, I went home and created Dr. Tomorrow.  My fascination with Welles comes from his obvious genius and his being ostracized from Hollywood for not 'playing along'.  Something I had a lot of sympathy for at that particular time in my career.

2. The Nazi X-O Manowar (Teutonic Knight) was a sensational concept and character, featured in issue #3. Where in the world did he come from? A Darth Vader swipe perhaps? Excellent Butch Guice cover, by the way. (Loved his work on IRON MAN; his illos of the ladies popped right off the page! Someday, I¹ll have to ask you what it was like working with him on ol¹ Shellhead.)

COVER ROUGH FOR D.T. #6

2. Actually, I had absolutely nothing to do with the creation of the Teutonic Knight. He was a character that had previously appeared in one of the other V2 books.  Fabian simply asked me to include him in the saga for the sake of continuity.

3. With the creator tribute so fully developed, I was surprised that tribute/homage covers were not produced for each issue of DOCTOR TOMORROW as well -- although issue #7’s cover image was somewhat an amalgam of Neal Adam¹s classic GREEN LANTERN/GREEN ARROW covers from issues #85 and #86, wherein Green Arrow discovers that his ward Speedy was heroin addict.  Several issues, particularly #’s 7 and 8 used a ‘hippy’ front-cover logo typeface to denote the time period covered, 1963-1975, “The Age of Aquarius.” Note: Acclaim-Valiant did produce a series of Marvel homage covers (‘Copycat Covers Month’) for its entire comics line in November 1997. Were homage covers ever considered?

3. Nope.

COVER ROUGH FOR D.T. #11

4. Was it difficult rounding up artists who could mimic the various tribute creators’ art styles? It must have been a kick to have Dick Giordano pencil his tribute issue, #6, as well as Gil Kane providing the cover of his issue, #8. Finally, you have the distinct reputation for giving aspiring artists a chance during your days as EIC at Valiant, in addition to employing senior creators somewhat out of the mainstream. This practice obviously continued in DOCTOR TOMORROW. Even you got into the act by supplying cover art for issues #4 and #6 and the story inks for issues #1, #6, and #8.

4. I had very little to do with the selection of the artists on Dr. Tomorrow--although that wasn't the deal going in. Early on, the editorial powers went back on their commitment to select the artists from the list that I submitted for the series. (the biggest disappointment was Gil Kane--who I was going to ink on that particular issue of D.T. but they refused to pay him his regular page rate.) However, I was very pleased with the work of a few of the fledgling artists assigned to the series--like Kevin Kobasic (emulating Alex Toth in issue #5).

5. Doctor Tomorrow’s costume is interesting: a dash of Mr. Monster’s get-up combined with the Star Trek Starfleet logo for Doc¹s chest emblem and a flash of Steve Zodiac’s Fireball XL-5 uniform (which shows you how far back in time I go). Or, was Doc¹s union suit just a figment of your imagination?
Thanks, Bob. And Happy Holidays!
Mike Kalibabky


5.  Mostly from my imagination. The costume was a cross of 1940's  serial heroes and

Wally Wood 50's Sci-fi garb.

Have a great holiday yourself, Mike!  See you in thirty.