[I]t started in 1976, when I was at a comics convention in New York City over Christmas break. I was in the middle of college then. I was staying with a guy named Duffy Vohland, who was then working in Marvel’s production department. (He has since died, sadly.) I wasn’t prepared to, and hadn’t even considered it, but Duffy exhorted me to pitch to Marvel and got me an interview with then-editor-in-chief Marv Wolfman, who I’ve since become pretty good friends with and who doesn’t remember it at all. I sat at Duffy’s typewriter for a day and knocked out three ideas; one involved the Black Knight and one was the Punisher, since those were characters I liked that not much was being done with then. Except the Punisher was being used at the time, before I knew it, as the lead character in a black and white magazine. Archie Goodwin was writing it. Marv pretty much just said, well, they’re using them, and that was that. I didn’t really expect Marvel to hire me as a writer then, so I wasn’t terribly disappointed, since I still had to finish college and this was when people in comics were concentrated around New York rather than spread all over like they are now. A couple years later I did start writing for Marvel after another friend, Roger Stern, became an editor there and asked me for something. A year after that, ’79 I think, Marvel started talking about doing mini-series, something I’d been pushing for a long time. I started pushing a Punisher mini-series then, but nobody was interested. The Punisher wasn’t considered a character anyone would care about. So every time a new editor would come in, I’d run the pitch — it was essentially the same pitch as I’d hit Marv with back when — and they’d just sort of look at me and eventually mumble no, and that’d be the end of it. Along the way, I did a Marvel Team-Up with Mike Zeck but didn’t really have any personal contact with him due to it, we met in the offices once or twice. In the meantime, Mike became artist on Marvel’s first big crossover series, Secret Wars, which, though he hated drawing it, made him a valuable commodity in the offices. At the time, editors were thinking in terms of “stables,” talent that worked for them alone.
A new editor, Carl Potts, was looking for projects and I wanted to do the Punisher, so I got the bright idea of asking Mike, who had just finished Secret Wars, if he wanted to draw it, since I thought his style would be perfect for the character. I called him, he remembered me, and when I brought up the Punisher he just started laughing; he and his friend and inker John Beatty had been sitting in his living room trying to figure out a project to do next and not seconds before I called one of them had said, “Hey, how about The Punisher?” We tossed the package at Carl, who snapped it up (though I’ve always suspected his main objective was to get Mike into his stable, but I don’t really care), and that was pretty much it. Carl was very strong supporter of the book, over much objection from Marvel management, which ended up telling him okay, he could do a Punisher mini if he wanted, but he bore responsibility for it. And that was that. Nine or so years in the making. What we ended up with was considerably different plotwise from what I began with, but the underlying concept never changed.