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"A WILD-RIDE ACCOUNT" —The Hollywood Reporter
"EPIC" —The New York Times
"INDISPENSABLE" —Los Angeles Times
"DEFINITIVE" —The Wall Street Journal
"SCINTILLATING" —Publishers Weekly
"AUTHORITATIVE" —Kirkus Reviews
"GRIPPING" —Rolling Stone
"A MUST FOR ANY SUPERHERO OR POP-CULTURE FAN" —NY Post
"ESSENTIAL" —The Daily Beast
"A SUPERPOWERED MUST-READ" —USA Today
"REVELATORY" —The Miami Herald
"AS FULL OF COLORFUL CHARACTERS, TRAGIC REVERSALS AND UNLIKELY PLOT TWISTS AS ANY BOOK IN THE MARVEL CANON" —Newsday
Jo Duffy in 1978, at age twenty-four. At the time she was writing Power Man & Iron Fist, while Archie Goodwin was writing Spider-Woman. “That’s just as well,” she said, “since no woman could write Spider-Woman the way she’s been established. She’s a bundle of male fantasies and fears about women.”
This bio mentions that she “looks forward to more writing assignments such as a filler for Ms. Marvel, her first assignment on a book based on a female character.” Did this ever happen?
Shortly before Stan Lee left for Los Angeles, he met with Jim Galton, Jim Shooter, and Richard Marschall to work out the details ofNova, a science-fiction comic magazine in the vein of the popular European publication Heavy Metal. Nova—soon to be retitled Odyssey, and then finally Epic Illlustrated—would continue the trend of high-quality color printing begun with the Kiss special; even better, there would be royalties for the creators. If Marvel couldn’t turn around the downward spiral of sales of regular thirty-five-cent comics, maybe they could succeed with higher-profit upscale magazines aimed at readers with disposable incomes and pretensions of sophistication.
The idea of producing a range of higher-quality product for the fan market had been kicking around for a while. “With a new approach to distribution,” Archie Goodwin had mused three years earlier, “you could think in terms of new formats for comics and start tailoring them for particular audiences instead of producing for the wider mass sales. You could possibly have comics that are right for the bookstores.” Even as overall sales of new comics had slumped, the fan/collector market had grown—Marvel’s nonreturnable sales had increased twentyfold in just five years.