 What's your biographical information about how you got started in comics? Well, I did not read comics as a child. It's not that I was forbidden to read them. I just wasn't interested. If there had been comic books about little girls and horses, I probably would have read them. I didn't get interested in doing comics until I was a freshman in college. I was an art major, didn't know really what I wanted to do. My boyfriend, now husband, Roy Richardson, showed me some comics from his collection. And I really liked them. He had to teach me how to read them. I didn't even know which way to read the balloons on the page. And then we went to a comic book convention and I saw professionals like Gil Kane, Bernie Riteson, Bob McLeod, all these guys doing really amazing work, amazing drawings, and getting paid for it and I thought that would be something I'd like to do. So I studied and I dropped out of school and worked up a portfolio and came to New York and started working for Marvel. You dropped out of school? I did. I did. Well, I dropped out of college. I was at University of Georgia in Georgia State. And back then, if you wanted to draw comics, if you were smart, you kept your mouth shut about it. It's kind of frowned upon. It's not like now I actually teach part-time at Savannah College of Art and Design in Atlanta and I teach sequential art, which is a dancey word for comics and graphic novels. What year was that that you dropped out? Oh, it would have been about 1881, back in the last century. What was your first assignment in Marvel? My very first assignment was on Conan the Barbarian. It was really bad. It was a backup story in Conan the Barbarian. But right after that, I started working with Louise Simonson. We worked up a pitch for PowerPack and Marvel bought it and I started drawing PowerPack. How did your kids work with Marvel? How did you get their attention? Well, the very, very first thing I had done was for a comic company in Florida, AmeriComics, owned by Bill Black. I did some work in that and it was published. And from that, I got a job in the DC New Talent book and that was published. So I had something published in hand and back then, if you wanted to get into the Marvel offices, I knew someone who worked there as basically like a secretary or an assistant editor. And he got me in the door and then I just went from office to office knocking in the door, showing my portfolio and got work. No, it was very, very different then. AmeriComics, that was September 4th. Yes, yes, very good. You did a DC New Talent story. It was a, I can't even remember the name of it. It wasn't an existing character. Oh, Animal Man was that? Feral Man. It was Feral Man, it was a character's name. Okay, so... It was a start. So PowerPack, PowerPack was popular. I remember... It was. It has a very small but loyal fan following. I liked it. I did too. It's still my favorite thing I've ever done in comics. Is there any, do you think there will ever be any more PowerPack? It's possible. The characters are still used. I know the oldest boy, Alex, is in Reed Richards. Oh, he is. What's it called? Something Foundating. Something, Future Foundation. Future, I think that's it. And the other characters show up every now and then. But will they ever bring the book back? Will they ever make a movie? I don't know. There's always talk, but no action. Well, right now, we kind of do a variety of things. Recently we've done quite a few variant covers for Marvel, an Ant-Man cover, Devil, Dinosaur, a new X-Men cover. This is a variant cover for Scarlet Witch. And we're also doing a book for DC. It's in partnership with General Mills Serials. And it will be in cereal boxes, which is actually kind of cool. And then we are also doing a comic strip. We've taken over a comic strip. Because when you go to conventions, you always have to bring work with you. This is in progress. It's a comic strip called Mary Worth. Oh, Mary Worth. So the artist, Joe Gala, after 25 years, he finally decided that at age 87, he's going to slow down. So he's retired. And my husband and I have taken over the art chores on that. And then I teach part-time. I do some illustration work. I do illustrations for Horse and Rider magazine. I'm sure you all read Horse and Rider. Okay. Well, thank you very much. Well, thank you.