I was with Roy Thomas on a panel and he turned to me and said, "You know, your name is on the cover a magazine every month." I said, "Really?" He pulled out a copy of "Destroyer," and said, "If you cover up the DEST you've got Royer on the cover every month."

There are still people who don't like my work and that's okay with me.

It was just too hard from my standpoint to apply myself properly for the lessons from art school and also work 6 hours a day at the Ben Paris restaurant in downtown Seattle. There was just no time to have a life.

I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.

I used to get letters from guys in prison. Anymore now I don't even open them. They'd ask me to please sign a couple of cards for their children. Then I see them on eBay two weeks later. Or the people that write and say, "You is one of my favorite cartoonists. I would like a drawing, please." I guess they encourage inmates to write letters to celebrities. It's like a way to make money by selling autographs or something. Give me a break.

My most vivid memories of those times weren't the actual nuts and bolts, but just pleasant times sitting with Jack [Kirby] in his studio, going over the pages and looking out the window at my kids playing in his swimming pool .

When you're paid $29 for something and 30 or 40 years later you're seeing it on eBay with pages going for $199 or more, it's like, "Dammit!"