: The Miracleman Companion George Khoury interviewed both Skinn and Yronwode — separately — and asked each about the claims published in Miracleman # 24.

But when Khoury relayed this to Yronwode during his interview with her she denied it, maintaining that the “ conversation with Dez Skinn about that ” never happened and that she never apologized.

Skinn wrote: “ raditional British comics were at the time selling 150, 000 + a week, firm sale, no returns.

Skinn explained: “ As with Marvel Comic, I was wanting an adventure anthology title more than a superhero one.

Skinn wrote that they “ emulated the look in their Combat Picture Library covers ... that was the look I wanted, to pull the line of pocket books together visually and make them different to any of our other titles ...”

Before launching Warrior, Skinn contacted writer Alan Moore, telling him that " Marvelman's copyright had belonged to the publisher L. Miller & Son, ... that they had gone bankrupt in 1963 and that the rights to Marvelman had passed to the Official Receiver therefore could be purchased for a very small amount ...”; and asked Moore if he “ would ... like to ... contribute to this new retelling of Marvelman .”

A quarter-century later Moore found out that Marvelman creator “ Mick Anglo had always owned the copyright, that it had never been owned by L. Miller & Son, and that they had not gone bankrupt, but had concluded their affairs quietly in 1963 .... Basically, Mick Anglo had been robbed of his ownership of .” According to Moore, “ I was not on the best of terms with Dez Skinn by the end of the Warrior experience.

Rosenkranz alleged that " Skinn ’ s book extensively “ borrowed ” from own book Rebel Visions: The Underground Comix Revolution 1963-1975 " by using as its title " the same four words, cleverly rearranged, as the subtitle of book ," " helping himself to quotes from many interviews conducted, repeating facts and figures that dug up ," and " reprint seven of photographs without permission.

Skinn lasted less than two years and his reigns were taken over by Bernie Jaye and later John Freeman.

Many of these creators had already worked with Skinn on his title The House of Hammer a few years earlier, plus some new young talent.

In 1990, Quality Communications launched the comics trade magazine Comics International, which Skinn published and edited for the following 16 years.

But according to Skinn, he had met with Anglo three times before assigning creators to Marvelman and Anglo had expressed no problem with the relaunch then or for the following 20 + years.

The name Starburst was settled on after rejecting other names, including Starfall, as Skinn considered it too negative.

After Warrior magazine folded due to poor sales, Skinn signed a deal with independent American publisher Eclipse Comics to reprint the Marvelman stories ( under the title Miracleman ) before continuing the storyline with new material by Moore and later Neil Gaiman.

His " Sez Dez " column was a regular feature in issues # 100 –# 200, at which point Skinn sold the magazine in 2006 to Cosmic Publications.

By the late 1970s, sales of Marvel UK titles had begun to fall and it was on a visit to the UK that Stan Lee headhunted Dez Skinn to revamp the ailing company.

Knowing Skinn had significant experience in British comic publishing, Lee gave him freedom to do what he felt best.

Skinn had his own catchphrase in " Dez Sez ," which was inspired by Lee's catchphrases from the 1960s.

Skinn reasoned that Marvel superhero weeklies had been effectively competing with each other in an already crowded market.

The Hulk was a popular character – Rampage Weekly which starred The Defenders had been added to Marvel's list of publications under Tennant's editorship as a second vehicle for the green giant – and now with his own TV series Skinn saw the Hulk as the lead feature of another adventure style comic.

It proved a huge success, and by now Skinn had transformed Marvel UK back to being a major publisher of not just weekly comics but monthly titles such as Starburst.

Starburst had been created by Skinn before he joined Marvel UK, but was purchased by Marvel when he joined the company.

Skinn claims that those seven photographs had been implemented by one of the ghost writers subcontracted by him and when he found out about it, he apologized to and paid Rosenkranz.

Skinn claims that he informed Robbins that no sub-contractors were credited in any of the publisher's titles, and that as the chapter was primarily about her, any such credit would have completely undermined its apparent objectivity.

Dez Skinn, the editor of Warrior, in which the revived series appeared, said " He wasn't crazy about our revamp, but he really didn't care either way.

According to Dez Skinn, author of Comix: The Underground Revolution, the strip served as an inspiration for Omaha the Cat Dancer.

Nick Laing succeeded him, but with a turbulent market seeing falls in sales was let go so that Dez Skinn could take over.

Skinn sold the title to Marvel Comics from issue 4 ; according to an interview with him in Doctor Who Magazine ( issue 344 ), this was because Marvel wanted him to work for them and help expand their range ( including becoming launching editor of DWM ).

As head of Marvel Comics ' operations in England in the late 1970s, Skinn reformatted existing titles, launched new ones, and acquired the BBC license for Doctor Who Weekly.

) In his 15 months as editorial director for Marvel UK, Skinn reported directly to Lee ; he reformatted existing titles Marvel Comic, Star Wars Weekly, and Spider-Man Comics Weekly, plus monthlies Rampage and Savage Sword of Conan.

Skinn now writes a column called " The Skinny " for Future plc ’ s comics trade magazine Comic Heroes and because of his strong beliefs in education through entertainment and the increasing world levels in illiteracy, he has recently begun working with the Abu Dhabi Music and Arts Foundation, initially chairing a discussion there on Comics and Literacy in the Middle East which has led to his becoming curator of the newly-created Middle East Film and Comic Con.

Skinn was not happy with how creators were treated in regard to ownership of characters, so he left Marvel UK in 1980 ( eventually forming Quality Communications in 1982 ).

In March 1980, as part of the " Marvel Revolution ", Skinn launched the Marvel Pocket Books line with four 52-page titles.

In 1982 he returned to publishing with his own company, Quality Communications, where Skinn founded and edited the comics anthology Warrior.

* 5 minutes with Dez Skinn

Starburst was launched in December 1977 by editor Dez Skinn with his own company Starburst Publishing Ltd.

In 1972, Bolland attended a comic convention at the Waverley Hotel in London, and met " a lot of the people who were key in the comics scene of the time ," including Dez Skinn, Nick Landau, Richard Burton, Angus McKie and-crucially-Dave Gibbons.

Skinn drew on the design of the traditional UK Picture Library titles which boomed in the 1960s to establish a definitive look for the Pocket Books.

Derek " Dez " Skinn ( born February 4, 1951 ) is a British comic and magazine editor, and author of a number of books on comics.

After leaving Marvel UK, Skinn founded and edited Warrior, which featured key works by Alan Moore.

Called by some the " British Stan Lee ," Skinn is one of British comics ' most influential figures.

Skinn left IPC to expand the comics arm of Warner Bros. publishing.

( Skinn also won the 1977 Eagle Award for Best Editor for his revamping of MAD UK.

In January 1978, Skinn independently created the science fiction monthly Starburst, published under Skinn's own Starburst Publishing Ltd.

Thanks in part to the success of Starburst, Skinn was headhunted by Stan Lee to reshape Marvel's floundering UK reprint division.