Re: McKenzie, my guess would be timing. Michelinie’s run was successful followed by O’Neil who was a name from DC who also had friends at Marvel, then Michelinie again. There just wasn’t ever a gap for him to do an Iron Man run. I don’t think he did any long runs on any Marvel books.
There was quite a gap between Michelinie and O'Neil, half a year or so? (in that gap, McKenzie's fill-in and this was also presumably written). McKenzie also wrote Daredevil #151-165 (with the exception of #162) and those are so important, it's always been downright nasty that he was done with writing comics after Miller wanted to write it himself.
@@SonofCapwolf I just read an interview Shooter did where he basically ran down McKenzie’s work on DD, said Miller almost quit over it, and that the book was one of their lowest sellers with him on it. So there’s the answer: Shooter didn’t like the guy.
He booted Bill Mantlo from Spectacular Spider-Man because he didn't want an amateur writing Spider-Man, then booted Al Milgrom nearly a year later for the same reason, and then eventually booted Peter David for the exact same reason. He never had anyone lined up to replace them either, he booted amateurs to leave it open to grab for someone he would then deem another amateur. Meanwhile, Web of Spider-Man barely had a steady creative team for more than a few issues at a go and PRIEST was making it difficult for what should be a very steady satisfying run from DeFalco/Frenz (imagine how amazing it would have been if Hobgoblin could just have been a clean reveal of Richard Fisk without any complications??).
Unsurprisingly, I don’t care for the art. It’s indie cartoonery that I could easily see being accepted in mainstream comics today. If they were going to do it, though, Fanfare is the place for it. That being said this looks like a coloring book to me.
I wouldn't have been surprised to learn he's doing some decent commissions these days. Most the 90s artists of his oeuvre were actually capable of becoming good artists but they were thrown in at the deep-end on Thor and the entire world saw them falling around with the training wheels on.
👍👍👍👍👍👍👍
Re: McKenzie, my guess would be timing. Michelinie’s run was successful followed by O’Neil who was a name from DC who also had friends at Marvel, then Michelinie again. There just wasn’t ever a gap for him to do an Iron Man run. I don’t think he did any long runs on any Marvel books.
Forgot he was on Cap for a year or so.
There was quite a gap between Michelinie and O'Neil, half a year or so? (in that gap, McKenzie's fill-in and this was also presumably written). McKenzie also wrote Daredevil #151-165 (with the exception of #162) and those are so important, it's always been downright nasty that he was done with writing comics after Miller wanted to write it himself.
@@SonofCapwolf I just read an interview Shooter did where he basically ran down McKenzie’s work on DD, said Miller almost quit over it, and that the book was one of their lowest sellers with him on it. So there’s the answer: Shooter didn’t like the guy.
He booted Bill Mantlo from Spectacular Spider-Man because he didn't want an amateur writing Spider-Man, then booted Al Milgrom nearly a year later for the same reason, and then eventually booted Peter David for the exact same reason. He never had anyone lined up to replace them either, he booted amateurs to leave it open to grab for someone he would then deem another amateur. Meanwhile, Web of Spider-Man barely had a steady creative team for more than a few issues at a go and PRIEST was making it difficult for what should be a very steady satisfying run from DeFalco/Frenz (imagine how amazing it would have been if Hobgoblin could just have been a clean reveal of Richard Fisk without any complications??).
Unsurprisingly, I don’t care for the art. It’s indie cartoonery that I could easily see being accepted in mainstream comics today. If they were going to do it, though, Fanfare is the place for it. That being said this looks like a coloring book to me.
Next you'll be having a pop at Fred Hembeck.
@@SonofCapwolf Better than Bruce Zick. Who, I just learned recently, went on to be a successful storyboard artist in movies.
I wouldn't have been surprised to learn he's doing some decent commissions these days. Most the 90s artists of his oeuvre were actually capable of becoming good artists but they were thrown in at the deep-end on Thor and the entire world saw them falling around with the training wheels on.