Like X-MEN COMPANION, it was conducted by Peter Sanderson, who was on good, friendly terms with Byrne. This particular volume focused on the work of John Byrne, probably the most popular artist then in the field. And so, Fantagraphics started to produce a series of albums each dedicated to a particular hot artist of the period–thus sidestepping the need to get direct permission from Marvel. But Marvel was close to 70% of the marketplace at this time, and Fantagraphics mastermind Gary Groth knew that this was a market that he had to tap into in order to generate revenue. By this point, the earlier amicable relationship with Marvel and Jim Shooter was breaking down, so their access to materials was a bit more limited. After the success of the two-volume X-MEN COMPANION project proved it to be a profitable venture that helped to underwrite some of Fantagraphics other more high-minded publications, the company looked around for similar things that could be done that might likewise bring in some operating capital.
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