JOE SIMON

When I and the other young artists were working in comics, our work carried with it a particularly American slant. After all, we were Americans drawing and writing about things that touched us. As it turned out, the early work was, you might say, a comic book version of Jazz.

Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.

In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.

To look back and know that I have had a pivotal role in the development of comics is something I'm very proud of, although it's not something I think about unless someone brings it up.

Comic art is just different. It's art on its own terms.

In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.

To look back and know that I have had a pivotal role in the development of comics is something I'm very proud of, although it's not something I think about unless someone brings it up.

When I and the other young artists were working in comics, our work carried with it a particularly American slant. After all, we were Americans drawing and writing about things that touched us. As it turned out, the early work was, you might say, a comic book version of Jazz.

Comic art is just different. It's art on its own terms.

Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.