In the early 1980s he turned his attention back to comics with Machine Man, X-Men, Iron Man, and other titles, including single-handedly creating Weapon X, now considered a true Marvel classic. This period was the beginning of Windsor-Smith’s transformation from artist to sole author. As a writer/artist creating some of the finest work the genre has ever seen. In the 1990s he produced work for Valiant (Archer & Armstrong, Solar, Eternal Warrior), Malibu (RUNE) and Image (WildStorm Rising), culminating in Barry Windsor-Smith: STORYTELLER, the comics magazine featuring three separate storylines that Windsor-Smith conceived, wrote, drew, inked, colored and edited. It was published by Dark Horse for nine issues, until relations between the company and Windsor-Smith Studio grew so strained that he broke off the partnership.

Now he looks at 1999 and beyond with three new projects, all of which are closer to his heart than anything previous. [MONSTERS] is a black and white graphic novel that deals with lingering psychological effects of Nazi biogenetic engineering and social mores and values in post-W.W.II America. It is the most complicated work the artist has ever produced, and is written, in terms of complexity and depth, more as a novel than its graphic counterpart. ADASTRA IN AFRICA revivifies a work from 1987. Originally produced by BWS as the third LifeDeath saga for Marvel’s Uncanny X MEN (issues #186 and #198), the story’s lead character, Storm/Ororo, has been replaced by STORYTELLER’s Young GODS rising star Princess Adastra, but now published by Fantagraphics, who are also producing collections of his body of work, published as Barry Windsor-Smith: OPUS.

A detail from a panel from MONSTERS