Pat Broderick: Back in the early 70’s, DC comics sponsored the junior bullpen program. This was a nationwide art and writing contest in which contestants were to bring their samples to the July 4th convention at the Commodore hotel in New York City. At the time, I was fresh out of high school and saw this as a great opportunity, so I spent weeks polishing up my samples, and saving all of the cash I could put together for the trip from Tampa. This was also my first comic book convention, so I was really excited; till I saw the line of other “contestants,” which seemed like at least a thousand strong. I felt that it was a wasted trip, but I got in line anyway and waited my turn for what seemed like an eternity. When my time came, I presented my work to Sol Harrison, who was sitting at a table with Joe Orlando. They looked at the work without much expression, then took my name and asked if I would return that evening after the contest was over to meet Carmine Infantino. I was stunned.
1st: How did you and Dick Giordano meet?
Pat: I first met Dick Giordano while I was on staff at DC, but he didn’t really ink any of my work until I joined Continuity and Associates later that year.
1st: You seemed to be doing odd jobs at DC and Marvel thought 1974.
Pat: 1974 was a transitional year for me. I was in between jobs for Marvels’ black and white line and finishing up my work for DC’s junior bullpen program.
1st: In 1975 you left DC and Marvel for regular penciling work at Atlas, Atlas was bringing in some pretty big named artist for their launch, and you were a relative newcomer, how did you get this break?
Pat: I first learned about Atlas Comics while working on staff at Continuity. It seemed like everyone was getting work from them and I didn’t want to pass up that opportunity
1st: You left Atlas to work for Marvel on Iron Fist.
Pat: Yes. It was after Atlas that I started to work on Iron Fist, which was my first Marvel book.
1st: At Marvel Jim Starlin had a long run on Captain Marvel, then inker Al Milgrom took over penciling and was replaced by you, how did it feel to get the regular assignment and was it hard to follow a team like Starlin and Milgrom?
Pat: I had always been a huge Jim Starlin \ Gil Kane fan, and still am, so when Marvel offered Captain Marvel, I jumped at the chance.
1st: After Captain Marvel you had a long run on the Micronauts, were you a fan of the Micronauts?
Pat: The Micronauts was a very special series for me. I was in love with the concept. And was totally blown away by Mike Golden’s art. But after seeing the really horrible Howard Chaykin issues I felt that I could get the series back on track, which I did for about two years. I think I produced some really good stories during my run on the series.
1st: In 1982 after 7 years at Marvel you left for DC, why?
Pat: In 1982, the editor-n-chief at Marvel had all but informed me that, in his opinion, my art sucked and that I would never get another raise there, regardless of how well my books were selling. So one quick phone call to DC and I was in.
1st: Things were obviously better at DC?
Pat: Yes. They LIKED my work.
1st: How did you become involved with Captain Atom?
Pat: Dick Giordano had completed the deal to get the Charlton characters for DC and called me to see if I would be interested in working on the Captain Atom series. I’ll admit, I was hesitant to accept the job. But he had expressed to me that he really needed me on that book so I agreed to do it for a year. It turned into three.
1st: After all those years at DC why would you go back to Marvel?
Pat: After 10 years at DC our relationship had gone sour. I was being abused by my editors, Helfer and Dooly, and was really just fed up with their attitude. So Rob Tokar had offered me Captain Planet and I took it to get my feet back into Marvel’s door .
1st: Your most notable work at Marvel was Doom 2099, how did you get involved with the 2099 line?
Pat: Doom 2099 turned out to be a huge break for me. At the time, I was still doing Alpha Flight and wanted to pick up a second title. Joey called and offered Doom. I was thrilled.
1st: After Doom, there was a series form Techno Comix and a Bug one shot, then nothing, where did you go?
Pat: After Tekno, and a brief 5-issue stint with Shadow House, I had no option but to leave comics. All of the work had dried up and as I’d had my hands in advertising for the last ten years, I just turned to it full time. At that time, Tracy Locke and Partnership in Dallas had hired me to head up an in-house creative department. We handled all packaging, print and TV ads for Pepsi, Frito-Lay, Pizza Hut , Fed-Ex, Harrah’s Casinos and Hasbro. It was an incredible experience. That experience led to design work for DNA Productions on the Jimmy Neutron movie.
1st: How is advertising work different from working in comics?
Pat: Advertising is a very different animal; far more pressure than comics and extremely more demanding.
1st: What brought you back to comics?
Pat: When I returned to Florida, I acquired a job as an adjunct instructor for the International Academy of Design and Technology, in their Computer Animation Department. It was during this time that I met with Bob at his new office in Brandon, Florida, and was introduced to Future Comics.
1st: Why future comics?
Pat: Why Future Comics??? The opportunity to work with both Bob and Dick.
1st: You are not just an artist but also the assistant to Editor-In-Chief, what does that entail?
Pat: Being Assistant to Bob entails being able to free up his time to concentrate on the Business of Future Comics.
1st: You have a new series for Future Comics, Peacekeeper, what is it about?
Pat: Peacekeeper is an action packed series telling the story of Ian Marshall Justice, the last Peacekeeper. More than that I really won’t go into; it would kill the surprise. But I will say this: there’s nothing like it out there and hasn’t been since Nick Fury: Agent of S.H.I.E.L.D. Peacekeeper will appeal to both old fans and new.