Love this interview----- brought back alot of memories. I believe this was Dad's last interview at the San Diego Con. He was sick here, and had to leave and fly back home earlier than planned. Sadly, he passed away 6 months later. A wonderful father, grandfather and husband. We miss him greatly.
He was an amazing artist and a terrible loss to the industry. I don't think he could draw anything badly even if he tried, and elevated everything he did - he was definitely one of the best. I loved his work, especially on Avengers and Silver Surfer, and I actually preferred his work on the Surfer over Jacks. It baffles me that the original surfer books weren't selling as I have them all and still enjoy reading them immensely. Johns artwork on the character was amazing. I recently designed a wraparound image for a mug that I had made to celebrate 50 years of the UKs Mighty World of Marvel comic (printed first week of October 1972, and was my introduction the Marvel Comics), and John had drawn the cover to that first issue. I found his signature and put that on the comic cover in recognition of his contribution. I think that shows, that even after all these years, people like myself still remember and enjoy his work. Because of that, he's never truly gone, and every day I drink tea I see his work on that mug. Kind regards.
Me too. My top number one favorite artist of all time. I loved when he took over my favorite Norse God Mythos The Mighty Thor and Conan second favorite.
@@jwanwaldon2509 His Conan was savage and someone to be feared and he drew amazing looking women and horrific monsters. I appreciate Gil Kane but when he took over after Buscema in the ongoing comic series it was a major let down to me.
Not my favorite artist, but I have a lot of great comics by him. My favorite might be the Fantastic Four one where Doom leads the team against Overmind. 116, I think.
Big John was one of the greatest dynamic figure artists of all time. Many artists can "pose" figures, but few can make them come to life like Buscema did.
When I was a kid I used to love the comics he drew without even knowing he drew them because I couldn't even read yet, now I know he was the greatest of all!
John Buscema is the greatest artists in the history of comics. He was the best CONAN artist, (Ernie Chan was his best inker.) and I loved it in the eighties when he drew for THE AVENGERS. The art was incredible! He also drew, "HOW TO DRAW THE MARVLE'S WAY"! I learned how to draw by mastering his style. AWESOME! 👍
John's story about Stan Lee calling him up years later to say that silver surfer #4 was one of the greatest books they ever made together. It was the first time John ever felt he was doing his own Buscema artwork, not Jack Kirby. Wow. Amazing. That book goes for thousands of dollars now 🙌🔥🔥🔥
Excellent interview!❤ I met Big John only once over the years in Ithaca 1985! I asked him why he left Conan to drew Avengers (written by Roger Stern )and curmudgeonly told me” Conan isn’t gonna put my kids through college!” I admire his blunt honesty because he could back it up ! A true professional! This interview is real treat! Thanks forever! Godspeed to Big John Buscema!😎🎯👍❤️⚡️😢
I hear John about the money but he was born to draw Conan. At least we got quite a few of the beautiful black & white Savage Sword of Conans though. Jeez I pull those mags out all the time.
It was great to hear he was proud of his work on Conan. I think he deserves almost as much credit for designing his current look as Frank Frazetta. At least he deserves praise for illustrating the character the most in history to this day.
When I met Big John back in 1982. He was gruff but pretty cool. I went on to edit biker magazines in NYC: I finally received a letter from Marvel’s editor-in-chief, Jim Shooter. He’d been Stan Lee’s right-hand man from the late ‘70s into the ‘80s, and, as a fanboy who’d made good, Shooter was an inspirational figure to any geek with ambitions for making it in the comic book business. He started writing for DC as a 14 year-old in the 60s. In the letter, he offered pretty much the same encouraging critique as Len Wein, but added in particular that my version of Ghost Rider was “too violent.” The letter on Spiderman-themed stationery got a lot of attention at the Ranch, and prompted one of the kids to mention that his mother was good friends with a “big shot at Marvel.” I didn’t think much about it, but during the next visiting day, the mom sought me out and confirmed that her best friend was the wife of Big John Buscema. I was floored. Buscema was the biggest artist at Marvel. He became the company’s go-to guy when Jack Kirby defected to DC in 1970 after a falling out with Stan Lee. There was no replacing the mad genius of Kirby, the visionary who had created much of the Marvel universe in the previous decade, but Buscema was a master of the medium, a powerhouse who’d carried Marvel through the 70s. Buscema had long historic runs on all of Marvel’s major titles, including the Avengers, Fantastic Four, Thor, Conan, and, one of my all time favorites, Silver Surfer. He literally wrote the book on comic art. His How to Draw Comics the Marvel Way occupied a place of honor in every comic book freak’s library. The juvie mom offered to arrange a meeting. I didn’t quite believe it, but a few days later she had secured an appointment for me to visit the man himself. Not at Marvel, but at his home in Port Jefferson, which was just a few miles down Jericho Turnpike. So on a beautiful, bright, sunny Saturday morning, Deborah sat behind me on the Harley, clutching the portfolio, and Walker followed on his 650. He was a huge comic fan. While we were in high school, he’d attended one of the first Comic Cons in NYC. He’d met some of the 1970s comics greats---Mike Kaluta, Howard Chaykin, Bernie Wrightson, Jeff Jones. These guys were among the New Wave of artists that broke into comics in the late 60s, bringing a more idiosyncratic sensibility to the medium. Artists like Buscema were old school professionals that had created the comic industry in the 30s and 40s with a tried and true formula that was still selling millions of comics a year in the early 80s. There was a bit of friction between the forces of established commercialism and new experimentation that we were about to experience first hand. We rolled down Route 25 to Port Jefferson. It was one of the more Gatsby-style communities along Long Island’s North Shore, unlike Riverhead and Farmingdale and the other blue collar towns of the interior. I tried to keep the Harley from backfiring along its pristine streets, and grew nervous as the neighborhoods became increasingly posh. Soon we were riding through a gently hilly subdivision with mansions piled all around its wide streets. We pulled into the driveway of what I hoped was the correct address, and killed our engines. The house was stately. It looked like a modest Vanderbilt residence, columned and grey with a tasteful spray of ivy, surrounded by manicured hedges and a freshly mown lawn. “Gosh,” said Deborah, as she uncinched her helmet and looked around, “very nice. It looks like he’s done well.” She bent and flipped her hair up. “Well, he’s been at it since the 40s,” said Walker. “He’s one of those guys that practically invented comics. Dude is a legend. I can’t believe we’re going to meet John Buscema.” The front door opened and Buscema’s wife Delores came out to greet us. She was quite gracious. “Come on inside and have some lemonade,” she said. It was a bit different from crashing the gates at Marvel with a speeding Harley. “John’s downstairs,” said Delores, “we’ll see him after we cool off a bit.” “Your house is beautiful,” said Deborah. We sat in the dining room. There was a floral centerpiece on the table and paintings on the walls. The lemonade pitcher glistened and sat on a silver tray, and we drank from carved crystal glasses. “Oh, thank you, dear,” said Delores. “My friend tells me you’re in charge of the horses there at Timothy Hill. You know, you’re very popular with the boys, but I think they’re all rather afraid of you.” “Really? Why?” Deborah sincerely did not know why. We laughed. She looked around the table. “Why would I scare anyone?” We finished the lemonade and prepared to meet the man. Delores led us downstairs into her husband’s studio-den. We walked through a gallery of his framed original art, some of the most famous images in the history of comics. John Buscema was sitting on a couch reading a newspaper. He peered at us over his glasses, offered a smile to his wife through his grey goatee. He stood and kissed her, and watched her leave. He was indeed a big guy, well over six feet and at least two hundred and fifty pounds. He folded the newspaper and tossed it on the couch.. I could tell immediately that we’d made a terrible mistake. Our presence was clearly an imposition. The house, the lawn, the dining room, the den, everything was ordered and had its place. We were unnecessary, an intrusion, an unwanted interruption of the routine of Big John Buscema’s Saturday. He was just humoring his wife. His goodwill did not extend to interlopers. “Who’s your favorite artist?” he asked me. “Well, I’ve always liked Barry Smith.” Smith had been Marvel’s first artist for Conan, from 1970 to ‘73. His painstakingly detailed, illustrative style, influenced by his study of the Pre-Raphaelites, was perfect for the hallucinatory dreamlike quality of Robert E. Howard’s Conan tales, but was ill-suited for the hectic tempo of the comics world. Smith had trouble meeting deadlines and only lasted for twenty-two issues of the title’s first twenty- four. He was replaced by John Buscema and I never cared for Big John’s oafish version of Conan, which was too much informed by trite superhero convention. As for Smith, he only worked sporadically for Marvel after his brief run at Conan. As it was, my response was utterly foolish. Of course, I should have claimed Big John Buscema as my favorite artist. Although I wasn’t a fan, I’d bought hundreds of the comics he’d illustrated, and was familiar enough with his career that I could have cited specific instances of his great work, many examples of which surrounded us. I did genuinely love his Silver Surfer stuff. It would’ve been nice to have complimented Marvel’s greatest artist for his work on one of the most significant characters in comics history. “Barry Smith? Barry Smith is a dirty hippie!” said Buscema. He turned to Walker, “Who’s your favorite artist?” “Uh. I kinda like Neal Adams.” We were both hopeless dolts. We’d intruded on Big John’s Saturday and now insulted him in his own house. “Neal Adams couldn’t draw his way out of a paper bag!” bellowed Buscema. “Alright, let’s see what you’ve got.” He took my portfolio and opened it. “What is this, Ghost Rider? That’s a crap title, going nowhere.” He shuffled through the pages, pausing and pointing. “Okay, perspective’s off there. These panels are all wrong, they make no sense, the reader would be lost. There are no leg muscles that look like that. Your anatomy’s weak.” He stopped at another page. “Okay, that’s a pretty good action sequence.” He squinted through his glasses at another. “Hmm, decent set of back muscles there. Alright.” He handed the portfolio back to me. “You really ought to consider digging ditches for a living,” he said. Had I anything other than the awareness of an amoeba, I would have recognized the encounter for the opportunity it presented. I should have pursued a relationship with Buscema, whether he wanted one or not. I knew where he lived. I should have become a pest. I should have persisted and shown up at his door every Saturday with new Ghost Rider drawings concentrating on remedying the weak areas he critiqued. As it was, I deferred to the legend, and took him at his word. Not that I should give up, but that my skills needed a lot of work before I could even consider a return visit with any comic professional.
You have no idea how excited I am for this! I've never heard Buscema talk for a long period of time (except the How to Draw Comics the Marvel Way video). I just bought an autographed Silver Surfer poster he signed back in 2000 from a dealer!
This man is an absolute legend, and a huge part of my childhood. I will forever treasure his work, especially with Conan. He created the look of the character for me in my mind's eye, which is so iconic and memorable. You immediately know when it's a Buscema piece. He is very much missed.
Buscema seemed to have a strong understanding of the power of talent. "When you are making money for a publisher, the world is yours." This is my first time seeing him speak. This is a great insight into him and the history of the medium. Thanks, Ed & Jim, for bringing this forward.
Great interview. One of the first names in comics that I became aware of when I started collecting comics in the early 80's as this friend of mine (that got me into the hobby) had every appearance of Conan.
Loved this interview. Buscema's Conan will forever stand as the iconic Conan in my mind. It's how I picture the Cimmerian even when I re-read Howard's stories. No other artist has been able to capture Conan's swagger, savagery, wit and dynamism the way that Big John did. That said, I am genuinely excited by the announcement of Roberto De La Torre picking up the mantle as the next principal Conan illustrator for the Titan Comics run scheduled for 2023. De La Torre's style is so very close to John's - closer than anyone else I've seen in 20 years - that it feels like he's channeling the Conan from those early Savage Sword and CtB years. De La Torre is more than a Buscema clone, though. Kid's got amazing talent, and I think John would be proud to see Conan in capable hands, finally.
Absolutely wonderful interview with one of the greatest comic artists of all time. I've been a fan of Big John Buscema since Avengers #41 came out here in England - John just got better and better. Great to hear his stories and his straight talking - what a guy! Many many thanks.
Great interview 👍 Savage Sword has always been my fav & it's neat to hear John say it's his too. I love his Silver Surfer, the deepest of all the superheroes. I guess not surprising that it didn't register with the US audience, whereas it did in Europe.
Thank you so much for uploading this, I love this artist and it's amazing to hear his memories. I am so, so glad this man who gave me so much pleasure with his art lived such a good life. He deserved it.
Thank you for this upload! I was introduced to Marvel in 1981, 6 years old, with Amazing Spider-Man #196-198. In the mid 80s I learned more about, (and read), the Silver Age and the artists of the time. Therefor, my favorite artists became those titans who took the more older and "childish" style of Everett, Ditko, (early) Kirby, Joe Orlando, Don Heck etc. to another level in the mid/end 60s. These include: John Romita Sr. Neal Adams Gil Kane Gene Colan Jack Kirby Sal Buscema and of course.. *John Buscema* Except from Romita Sr. (R.I.P., legend) I learned about the passing of most of these masters years after they died. Therefor, their passings didn't struck me as bad as with Romita Sr. Still, I have always been saddened about their deaths - and especially learning that John Buscema (one of my all time favorites) had passed already in 2002. It felt all too early - and watching this confirms that thought to the fullest.
My favorite Mavel artist of ALL TIME with Romita at #2 & Kirby at #3...His Silver Surfer illustrations were unmatched who was 1 of my favorite characters as well as Black Panther & Spiderman
After Kirby & Ditko, he was the third Marvel artist whose work made an early impression on me as a kid. But while Kirby & Ditko's art felt like in theory at least, could be copied more easily and a young artist could be influenced by them, , Buscema's work seemed that much more "adult" and sophisticated , partly because at that time, despite his early misgivings, he could certainly draw women.
It's hard to believe he's been gone so long. I remember the day I got his autographed Vanguard sketchbook in the mail, hearing he died the same day. It was heartbreaking, but almost like I'd been given a gift.
Buscema & Silvestri, the two best human figure artists in the buisness. How bout that Silvestri Batman Black Label art, his style has changed so much but unmistakably Silvestri figures & faces at a glance. Beautiful. And of course John is unparalleled, but I think Silvestri always deserves a shout out when Buscema is mentioned, he clearly studied Buscema and is the best of his generation, never enough recognition.
What a wonderful interview, can’t tell you how many memories this brought back in books this guy Drew always was my favorite artist no matter what era I’ve lived in, and I’ve been reading comics since the 60s. This man’s laugh the it’s just my job attitude I love that reminds me so much of how my father was did his job to feed his family happen to be good at it, just an amazing interview like I said. Thanks for the upload.
His art was perfect for Conan! I do like Barry Smiths but John embodied that character. I bought both comics and BW magazines back in the 70s. You really felt you went back to an ancient world!
Love John Buscema's artwork. His storytelling was my intro to the Avengers with the 70s reprint title, Marvel Super Action starring The Avengers and the treasury edition of The Avengers.
All those things John said about Jack Kirby can be said about John, too. I think he made a beautiful line and had a style more like a renaissance artist.
Wow! Awesome interview David and sad to say that Festino of Spains comic con translation of 10 years to live actually came true. I believe tge person who got John into comics in 1948 was Nic Zurow?
Big John was In my estimation thee premier action artist of Marvel. There was a time I wouldn't buy a comic unless he was the artist on it. I matured since then and Appreciated more the other artist work ...But if Big John was on it it was a a definite buy.
My favorite comic artist. Imagine what he could have accomplished if he actually enjoyed drawing comics! From merely fantastic work to artistry of mind-boggling magnificence.
This guy is legend!!I'm an old school guy....my very first love of a cover was the Avengers...with the Vision standing all regal and dramatic against a red background...with the other figures below. This cover just mesmerize me...I would just set and stare at this cover. DC had nothing on Marvel...oddly, DC was just too cartoonish and basic for me. Buscema's Silver Silver was Epic. Nice interview!
Man, its so great to hear interviews from all these comic creator legends. John Buscema has to be part of the "Mount Rushmore" of Marvel Comic artists along with Jack Kirby and Steve Ditko. Any chance that you might interview his brother Sal Buscema? I have not seen a proper sit down interview with Sal, just panel discussions.
I am really surprises me he didn't like drawing Spider-Man since he loved to animated organic figure work so much. You would think it would be his favorite even over Conan. That one drawing he did of Spider-Man in How to Draw Comics the Marvel Way swinging on his web is one of my all time favorites.
I have always been a fan of John's even before I studied ' how to draw the marvel way ' in fact I'm reading a man thing omnibus to catch up on stories John did I didn't pick up off the news stands or 7-11 comic racks.😝❤️👍
The guy that made Conan look like his creator Robert REH, when you see Robert E. Howard portraits and see John Buscema's Conan......same dude..............Big John was a legend...
There are two comics, that he drew the second half of, captain marvel 18, and superman, blood of my ancestors, with Gil Kane. Ironically, that was the last work both artists did before passing away, and it's pretty decent.
Avengers #76 - art by Buscema, inks by Tom Palmer - was one of the first American comics I came across, back in the early 70's, and it made me fall in love with comics. He was an amazing artist, but he needed to be inked by one of the greats, like Palmer or Chan (or himself), otherwise his disinterest in superheroes just came through...
It's so sad, John passed away a year later from that interview. What a great artist, what a loss. When I see comics arts nowadays, it upsets me. So lots of crap. So yes, want to be good at something, practice every day.
