Why did everyone at Marvel hate him?

>the writers hated him because he kept telling them they couldn't put adult stuff in comics for kids
Lol, he was EIC for the most fetish heavy period of Claremont’s X-men. He’s full of shit.

Paul Levitz is probably the best example of being both an effectuve and likeable boss. He kept shit on track but didn't micromanage and didn't take himself too seriously. Christopher Priest shared a story in an interview about his early days about standing in someone's office doing an impression of Levitz completely unware that he was standing just outside in the hallway, freaking out and Paul's reaction being "Relax, it's just comics."

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I'm not saying he didn't do a good job, OP asked why everyone at Marvel hated him, and thats one of the reasons

>According to Doug Moench, Marvel’s Big Bang would go down this way: “Donald Blake would be killed, but someone else would find the walking stick and become the new Thor. So instead of Thor being a doctor, now Thor would be a plumber or whatever. Steve Rogers would die, but an investment banker would become the new Captain America. I said, ‘This is crazy! We can’t do this!’ And Shooter insisted that it was going to be done. Peter Parker would be killed, and someone else would get bitten by another spider, and so on. I kept ignoring it; Shooter kept pushing it. It got to the point where the editors were calling me, assistant editors, including Ralph Macchio and Mark Gruenwald. But all of them were afraid of Shooter. They’d seen me in the Marvel offices having epic battles, in which I would just bellow at the guy. I was, I guess, the only one who fought back against him. Everybody else felt cowed and didn’t want to risk getting fired or whatever. I just didn’t give a shit and I hated the guy so much.”

>“Jim Shooter was the worst,” Gene deviates, bringing up Marvel’s former Editor-in-Chief. "I knew the trouble was heading my way with Shooter.”
>“He overcorrected every single line I drew on every single panel,” Gene elaborates. “It was not uncommon for him to return every story submitted with corrections on each panel. What made it worse, his comments and critiques were incomprehensible. My last job for him before I quit was 32 pages long. He sent back the entire job corrections on every page. I sent back the work exactly as is with no corrections, only told him ‘I've done all the corrections Jim! The work is in the mail’. When he got the package, he told me ‘That's More Like it’. That's when I proved to myself he was about tyranny just for the sake of it. He destroyed a lot of lives of talented up and coming artists at the time. But not me!”

Who here has ever screamed at their boss?

If you did, did you keepyour job?

Today I will remind them
rsmwriter.blogspot.com/2016/06/jim-shooter-second-opinion.html

everyone was jealous of him being a legitimate comics writer at age 14

What is it about the Legion that makes these men good EICs? Just knowing how to juggle a bunch of different people and plotlines?

That combined with not exactly being a mainstream book so if you get/pursue it it's mostly because you really love comics

>Steve Rogers would die, but an investment banker would become the new Captain America.
Well, there's some social commentary that wouldn't have aged at all well.

This. They cry about him being a hardass but he oversaw Marvel at its peak.

I told my boss she was a fucking dilletante who knew nothing of inventory. Got fired. That was a rough day but honestly, the company was so shitty it was probably the best thing for me.

On the contrary, it would age TOO well

I was at a con once and Levitz started talking to me when I was in line to get some food because I had a stack of 80s comics in my hands. He just drummed up a conversation and we were halfway through when i finally realized why I recognized him. This guy is cool as fuck.

If Claremont got his way it would have been way worse

>-as X-Men scriptwriter Chris Claremont put it after Marvel let Shooter go in 1987, “Things that were better [at Marvel] were better [because of] him” (TCJ 116, p. 14).

It really has to depend on whether or not Investment Banker Cap would be seen as a good guy or not. And if he's willing to admit that a lot of his colleagues are fucking horrible. All in all, I'd be more comfortable with crazy legless hobo Cap.

pretty sure it was because he exercised such strong editorial control that he sometimes just overwrote things that writers wanted to write entirely which is his job as an editor, but it also got so iron fisted that he would literally write over what the writer wrote and shit on their work, which they hated, and plus, he reportedly had no tact, so they hated him even more.

whatever the reason, i've always loved his era as editor of marvel comics

Comic pros are just giant prima donnas. They make books about men in tights slapping each other and think they're rockstars for it. Whenever they aren't properly wrangled like the tards they are the industry starts falling apart.

Which is why Shooter’s other ventures were all so unbelievably successful-

Considering how hard Valiant tanked AFTER he left. Yes

Ok Shooter, that sure explains why Thomas was a far better editor than you were

>crash ship
>leave on lifeboat
>WHELP ITS NOT MY FAULT
That’s you

>114042897
>Waaah he made them meet deadlines and ended the sever mismanagement in the company Waah
That's you

>they couldn't put adult stuff in comics for kids
Who was responsible for the perpetual rape of Carol Danvers again?

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New Universe.

Defiant was DOA.
And as for Marvel and Valiant both, if you can’t hold a job how good you at it literally doesn’t mean shit.

>114043011
>I'll show you Jim Shooters a fuck up
>Here's the project at the end of his tenure where Marvel's head company threatened to pull funding midway through and he still managed to write the only good book in it
Sure showed me

Marvel hasn’t had a great EIC since Stan Lee.

I wonder why the head company wanted to pull funding...

>if you can’t hold a job how good you at it literally doesn’t mean shit.
Yes that's the exact mentality that produces the current industry.
>Let's fire everyone with skill merit and talent because they hurt feefees
The comics industry gets what it deserves

>doesn’t know how to properly reply.
Ok, kid.

Can’t hold it, can’t do it. It’s that simple. Don’t let reality get in the way of your tantrum, though.

>114043191
>Giving tards (You)'s
Denied
>114043213
>Don't let reality get in the way of your collapsing industry

He killed a book that was selling well, to make room for a book that proceeded to not sell at all. And if you want to have a discussion with someone, you'll give them (You)s like a civilized person, virus gimmick or not.

Just because I don’t worship Darkseid Jr. doesn’t mean I like the current industry.
I give no fucks what happens to it.

Stop spouting nonsense. Jom Shooter was an asshole how like to do power moves just to prove he was the boss. There was a time he scolded a man in a documentary just to prove how much he was in charge. All this practices courtesy of his upbring with Mort Weisinger. If you had a boss like him, you probably cry about him.

Good ol Paul Levitz

What a chad

That’s more like a Karen move

>it has not been reported by exactly how much, but it’s accepted that shortly after he took over Shooter substantially increased page rates for creative talent. He stated under oath in 1986 that up-front scriptwriting rates at Marvel had tripled during his tenure (TCJ 115, p. 81). In August of 1979, he instituted a bonus system based on the number of consecutive issues completed on a series assignment. By the end of the year, he had developed a character-creation plan that gave the talent an ongoing financial interest in any new character or property they created for the company (TCJ 54, p. 13). (The plan was approved in 1980, but a lawsuit filed that August by Howard the Duck co-creator Steve Gerber prevented its implementation for two years. The new policy would have increased Marvel's contractual obligations to Gerber, and Marvel's attorneys advised against that until the suit was resolved. It was settled in September of 1982.)
How horrible

>Shooter's most important initiative in creator compensation was the establishment of a codified sales-bonus plan for scriptwriters, penciler/cartoonists, and inkers. In the first half of 1981, Shooter, cartoonist Jim Starlin, and Marvel's de facto publisher Michael Hobson finalized the contract for The Death of Captain Marvel, the first book in Marvel's Euro-album "graphic novel" line. The contract included a royalty clause for copies sold. It was the first contract for a Marvel publication featuring company-owned characters to include such a provision. That November, Marvel's chief competitor DC Comics upped the ante by announcing a sales-royalty arrangement for their periodical comics line. The following month, Shooter established a similar plan for all Marvel newsstand comics selling in excess of 100,000 copies (TCJ 70, pp. 10-12). Since all the company's newsstand titles were selling in those numbers, every scriptwriter, penciler, and inker at Marvel would see the equivalent of royalties for their work. Daredevil was Marvel’s top-selling title for the first month of the program, and writer-penciler Frank Miller received a $6000 sales bonus for that month’s issue. A sliding scale was later introduced, and under it, John Byrne received a $30,000 sales bonus for writing, penciling, and inking the first issue of Alpha Flight in 1983. Several Marvel writers and artists began to enjoy affluent income levels. Shooter testified under oath in 1986 that scriptwriters Chris Claremont and Bill Mantlo respectively earned $230,000 and $120,000 from Marvel in 1985 (TCJ 115, p. 104). Long-time comics artist Bernie Wrightson summed up the improved business situation in a 1982 interview: “[Marvel has] gotten a hell of a lot more reasonable in recent years. In fact, I don’t know if you’ve heard about the new contracts that Marvel is offering, but these things are just dreamy” (TCJ 76, p. 109).
Truly awful what an absolute nightmare

For the most part I'm pro-Shooter, but the one thing I don't like is how he would prohibit creative layouts and make artists use standard ones that he had pre-approved.

Its almost like people are complicated. He wasnt all bad or all good.

Yes, many times on many jobs.
I’ve never been fired.

Yeah, he definitely did some good things.

>>Don't let reality get in the way of your collapsing industry
I agree, Shooter failed us all by getting drummed out of the industry. If he could have held on, he might have saved everything.

Wrtiers hated him because he didn't let them edit their own books to collect 2 paychecks for one job

I'm just here for the cartoons and have no idea who this guy is, but I just wanna say that this photo of him makes him look like a supervillain.

Depending on who you ask, he kinda was.

John Bryne held a barbeque where he burned an effigy of Shooter after Marvel gave Shooter the boot.

Moench was never a writer/editor though, and he was Shooter’s arch enemy.

Byrne was just jelly that Shooter was more of villain than he was.