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The scripts that came out of it are still there today. It was a caste system, pure and simple.

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In other words, my ambition was always to be a perfect picture of an American. So I had a grand time with the atomic bomb. He quit comics and began doing commercial art. I liked the Planet Ego—that was innovative, using an entire planet as a personality. It suddenly dawned on me — believe me, it was for human reasons — I suddenly discovered nobody was doing blacks. It was an instinct. I suppose it must have dawned on you at some point that you were a comic artist and that your identity was that of a comic artist. When you were doing a story, say, the first Dragon Man story in Fantastic Four that took place on a campus — would you plot that out in your mind? Stan Lee was a guy that knew where the papers were or who was coming to visit that day. Whatever the Hulk was at the beginning I got from that incident. The fun of doing comics was finding this variety of ways in which to conclude a comic. It was Steve Ditko that made Spider-Man the well-known character that he is. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists. All his characters look Polish! Nerd fucking two hot blondes!

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There are times when you work with people you feel like punching in the mouth. When I first came up with Galactus, I was very awed by him. I had to ask for them. What I really wanted to do is make movies. Sometime even after I thought it out, the story would come out different because on the way something would happen and this guy would have to make other plans. If sales of the comics began to dwindle, then your salary is going to be stagnant. I revived what I could and came up with what I could. He did a wonderful job on that. I penciled fast, I wrote fast. Nobody thought of contracts, nobody thought of insisting on better deals. I worked with the TV and radio on — it was a great setup.