Marvel business card 1. My first editor card. During this stage in my life...I guess through to now...I used Marc and Marcus interchangeably. But most of my comics credits are under Marc.

I have copies of my card as an Assistant editor and a Managing Editor (they all looked the same except for the title), but this is the first one that meant something. Interestingly enough, at Marvel a Managing Editor was a step below an Editor. It was really more of a Managed Editor, meaning that while you had a small stable of books you were responsible for, there was another Editor who was responsible for you. Every place that I've worked at since, the Managing title inferred that you were Managing others.

Anyway, I worked at Marvel for 10 years from immediately after college in 1987 thru 1997. You accumulate a few business cards and other perks during that long of a run, especially at a company looking to redefine itself.

















Marvel/Epic/Razorline Business Cards. This was an awesome design created by my Exec Editor Carl Potts, who taught me a
lot about Design when I started as his Assistant Editor. I also
edited the Clive Barker Razorline series, which produced (IMHO)
some of the best comics concepts I've ever read. These cards
were 2-sided. Other Razorline links:

Clive Barker.com

Marvel Entry Card. Don't know exactly why I thought this would be interesting to post, but I did. It's the keycard which I had to swipe in a reader to get into the Marvel offices. I think the reason I kept it is I like the shot. And the memory.










Marvel Trading card, Year One. Art by Bret Blevins. When they first suggested this project, I thought of Bret right away. I had LOVED his work for years, and knew he would make me look tons better than I actually did. Which, let's face it, was the whole point.
At the time, I edited Hellraiser-hence all the horror imagery.

These cards were given away at convention and comic book shop appearances. One of the meanest things that Marvel did, IMHO, was to create a full set that was numbered (on the back) with editors and Sales crews-anyone likely to go to a convention. The mean part is that complexities never got to get a full set, because some of the people who got cards subsequently never went to any conventions. That made it virtually impossible for anyone who didn't work at Marvel to get a full set. And in a world like comics where collecting was everything, some fans went nuts trying to fill in the numbers. Of course, working at Marvel, I could've gotten a full set anytime I wanted to. But it never even occurred to me. As a result I only have the cards from a couple of friends, and a whole lot of my own.

Want one? Let me know.


Marvel Trading card, Year Two. Art by Simon Bisley. This was created as a second year promotion (in time for the new convention season) and printed with metallic ink that worked much better than year one.

This time I asked (begged) Simon Bisley to do my portrait. Did I mention both the artists made me a a gift of the artwork afterward? Ah, the perks of being an editor.

Want one? Let me know.




DDG Business Card. Design Development Group was a short-lived mistake that brought me from New York to Baltimore. It taught me that I did not want to live in Baltimore, and that I most definitely did not want to work in architecture.








Channing Bete Business Card. I was at this job for 10 years, and never ceased to be amazed at how uninteresting the card design was. Sigh. When you have 31 flavors at your fingertips, why always order vanilla?








Idea MechaniX Card. This is my own designed card, referring people to this very website. Since you're here, you don't need one. Unless you just want one. Lemme know!