Having grown up on the Kirby/Ditko/Everett/Wood/Burgos/Heck/Trimpe/Lee brand of super-heroics, his primary concern, creatively speaking, was to keep on serving up more of the same to an eager public, and to that end, his first wave of hires came largely from the same fandom ranks that he had once lorded over himself - names like Gerry Conway, Steve Gerber, Jim Starlin, Al Milgrom, and others that would come to dominate Marvel credit boxes in the ’70s were all examples of “fan creators” whose literary and artistic tastes - and ambitions - were shaped by the groundbreaking innovators who had preceded them. Thomas was eager to do any number of things at the self-described “House Of Ideas,” but rocking the boat wasn’t one of them.
The late 1960s/early 1970s were a tumultuous time for the “Big Two” comics publishers - with Jack Kirby having taken his creative genius back over to DC, then-Marvel head honcho Stan Lee quickly decided that putting his name on other peoples’ work was too much hassle for him to bother with, and so turned the reigns of the future billion-dollar business over to the youthful Roy Thomas, who had first come to the Smilin’ One’s attention for running the ahead-of-its-time Alter Ego fanzine.
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