Quotes of All Topics . Occasions . Authors
We wanted to talk about death in the DC Universe, and how some people go to get a pass and come back, and some people didn't. That opened up a whole other topic about legacy. We wanted to talk about what was required to be a hero, what were the elements of true heroism?
The thing that probably trips me up the most are people getting tattoos of stuff that I've designed in my books. That always spins me out in a weird way. It seems like such a permanent commitment to something I've done. I don't know that I could do that for anyone else.
In some films it wouldn't be surprising to see the United States envisioned as a significant but not primary dominant marketplace, and treated accordingly. But in comics, that's for the governing minds at each of the companies and corporations to find out for themselves.
I think the biggest challenge is going to be finding a place that sells comics. Ideally, you want someone to come out of a movie theater, look across the street, see a newsstand, walk in and find a copy of the 'X-Men' sitting there. But that's not what's going to happen.
There's a character, Eon, I did back in the 'Captain Marvel' story. Eon came from a greasy smudge on a paper bag inside my kitchen being used for garbage. I went and got a paper and pencil, drew it up, and he became a character in that story. Things come from everywhere.
I found that the artist market was expanding in comics. Marvel was going from something like eight books a month to somewhere in the 20s. As a result of this expansion, Marvel, in particular, was hiring anyone who could hold a pencil. That's how I got my first job there.
As far as personal philosophies go, I think you should know your ending. I know that's radically different from a lot of other writers who just organically like to find the story. Other than that, I try different things and mess around. I'm still just playing a good bit.
Maybe I had a 'secret identity,' but then when you think about it, don't we all? A part of ourselves very few people ever get to see. The part we think of as 'me.' The part that deals with the big stuff. Makes the real choices. The part everything else is a reflection of.
It's been a very interesting exercise as a writer - writing a little family group, like The Incredibles or The Simpsons or something like that, and setting it in a big Star Wars-type setting. It's been really fun, definitely different from the kind of thing I normally do.
I think the biggest mistake you can make in creator owned work is having info-dumps like, "Here's how this world works!" it's just like someone playing dungeon master and boring me with the backstory of their fucking world. Just bring me into you story and get it cooking.
I dug up some old John Buscema 'Conan' comics. Man, when Alfredo Alcala was inking, that was some of the most beautiful black and white comic art ever published. The stories are good, too, though early '70s comics based on Conan is a festival of sexist, racist stereotypes.
Some people are able to not only entertain the public in any way that they can but also in some way to throw in some sort of inspirational message with the entertainment. I have always tried to do that with whatever I wrote. And I'm sure that a lot of other writers do, too.
Basically, Urban Fantasy means D&D in New York. Ordinary people have no idea that they share the world with fantastic, supernatural creatures. It can't just be vampires or werewolves; it has to be a whole continuum of fantastic beings, with their own society within society.
It's stupid, I know, but I care. All the things that meant so much when we were young. Under the blankets late at night, listening to long-distance radio. All those things lost now or broken. Can you remember? Can you remember that feeling? Perhaps I ought to go to a doctor.
Batman: a force of chaos in my world of perfect order. The dark side of the Soviet dream. Rumored to be a thousand murdered dissidents, they said he was a ghost. A walking dead man. A symbol of rebellion that would never fade as long as the system survived. Anarchy in black.
Evil is relative - and what I mean by that is that our villains are as complex, as deep and as compelling as any of our heroes. Every antagonist in the DC Universe has a unique darkness, desire and drive. And the reason for being of 'Forever Evil' is to explore that darkness.
The idea of introducing the Seven Seas is absolutely to challenge Aquaman on an emotional and personal level. His responsibility is unification of the world, and that just became a lot more complex when he learns about the fall of Atlantis and the splintering of the kingdoms.
But you have to look at your work with an honest critical eye. Work on the things that you need work on. Scare yourself. Surprise yourself. If you don't like the way it's going, you have complete control over changing the course. That's one of the best things about doing this.
The original series of Watchmen is the complete story that Alan Moore and I wanted to tell. However, I appreciate DC's reasons for this initiative and the wish of the artists and writers involved to pay tribute to our work. May these new additions have the success they desire.
Burnout is grist to the mill. I write every day, for most of the day, so it's just about turning into metaphor whatever's going on in my life, in the world, and in my head. Every nightmare, every moment of grief or joy or failure, is a moment I can convert into cash via words.
When I started writing 'Batman,' I lobbied heavily to get rid of Robin - or at least not use him in the stories I wrote. Fighting crime with a teenager dressed in primary colors while you're sporting a gray-and-black outfit always struck me as child endangerment, if not abuse.
Before the TV show of Jessica Jones, the response to Miles [Morales] is so overwhelming, and so constant, and it's been five years now. I can't even express to you how powerful it is on my end. It's overwhelming how much it was needed, that I didn't know that's what was needed.
Lettering should be invisible. You shouldn't notice it, unless it is a determined piece of storytelling in graphic design. Whether handmade or digital, the lettering should be easy on the eye and well placed. It should help tell the story and do nothing to get in the way of it.
The resolution of the Phoenix Saga was one of the most frustrating experiences that I think any of us ever had, but I also think it was the right move. The decision, three years later, to undo the Phoenix Saga with the resurrection of Jean was less so, but that's in my opinion.
I'm excited for everybody to see the books. In Justice League #15, there's a lot of other stuff too that's setup in this storyline that's going to explore Superman and Wonder Woman and Cyborg. Cyborg has a huge role in this story, actually, that sends him on a new path as well.
What really matters is not how well a character fits a definition, but how strongly he or she resonates. Characters with strong, resonant ideas at their core will have more of an impact on the cultural consciousness than a character who's just an empty collection of attributes.
Thanos and Adam Warlock are two of a kind because they're both sort of out of the norm: out of the circle of life and death that falls on top of everyone else. Both have had multiple deaths and resurrections, and they always seem to get pulled in as key players for cosmic events.
In comics, there are depths that don't reveal themselves immediately, and the stuff that you might consider anal about 'Watching the Watchmen' - like the notes where I plot the rotation of a perfume bottle through the air - might not be particularly obvious to anyone who reads it.
I vividly remember my first 'Superman' comic, which my granddad bought me when I was about 7. From that point on, all I wanted to do is draw comics. And specifically, superhero and science fiction comics. Basically I used to copy comic books, and draw my own comics on scrap paper.
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
People try to pigeonhole comics by saying they're just for kids. So is The Odyssey. So is the Labors of Hercules, the story of Fa Mulan. The advantage of those stories over the contemporary ones is that they've had 2,000 years of editing. All the crap has been weeded out over time.
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
With every script, I write a note to my collaborator that says: 'I write full script. But see it as a guide. You take us where we need to go any way you see fit. I tried to write something specifically for you. If you agree with my choices, fine. If not, you do what you have to do.'
The really nice thing with 'Future Past' is that you actually have a superhero film - much to everyone's surprise, I will hope - that is about something. It's about racism, I hope. It's about resisting oppression. It's about fighting for freedom and the cost of fighting for freedom.
To be honest, when I was writing these stories a million years ago, I never thought about movies at all one way or another. It would have seemed almost miraculous for these things to be movies someday. To me, they were just comic books that I hoped would sell so I could keep my job.
I didn't write superheroes for the first 10 years of my comic career. I was just doing fan fiction. I wasn't thinking about superheroes at all, even though I loved them. I was raised by Watchmen and Dark Knight, so I was raised in with it's all been done, they don't worry about that.
I'm not a huge Lovecraft fan as far as that goes; I think there are some stories of his that are really quite wonderful, but for the most part, I have great difficulties with his prose - and the more you know about the man, the harder it is to separate him from the work in many ways.
I was desperate to work with Stuart Immonen, who I have talked with for several years about doing a project together. So just the stars aligned. I knew that Stuart had a little break in his schedule, where he would be willing to do a project with me. So this year I've been very lucky.
I guess in all of the obvious ways. I can afford more diapers for my children. If I want to buy a complete set of Garbage Pail Kids on Ebay I don't have to ask my wife so hard. For the most part, it's mostly the same. I keep my head down and I just work on comics for most of the time.
It's a tremendous challenge, because there have been so many characters created over the years. Every time you think you come up with a great name, you find out somebody has already done it. Dreaming up the stories isn't that hard, but coming up with a good title is the toughest part.
Would you rather see a super soldier battling Nazis or something more serious? Or lesbians down a coal mine? Generally, the films are engaging in the same way as the comics are. It's no coincidence that the biggest movies are genre-related, whether it's Lord of the Rings or comic books.
Ever since 1980, sci-fi has generally been more Bladerunner than Star Wars. People talk about Star Wars being the most influential movie of all time and creating the blockbuster along with Jaws and that sort of thing, but really there's not been a space opera that anyone can go and see.
I will say there is only one caveat as far as 'Logan' goes: I got to the end and went, 'OK, what happens next?' To me, as an audience member, damn. If you can get to the end of the third act of a trilogy and your reaction is 'what the hell happens next,' someone did their job incredibly.
The living werewolves have genuine needs and desires, which, though they may oppose ours, are valid. Even if they want to eat humans, you can't really call them evil, any more than mice can call cats evil, or chickens can call humans evil. It's all just a matter of where you're standing.
Sexcastle is a perfect mix of homage and comedy, action and irony, loving tribute and hilarious send-up of the great, good, and ungodly-bad action movies of the '80s. I don't remember the last time a debut book hit me this hard. Literally, this book punched me in the face. It's THAT mean.
To my way of thinking, whether it's a superhero movie or a romance or a comedy or whatever, the most important thing is you've got to care about the characters. You've got to understand the characters and you've got to be interested. If the characters are interesting, you're half-way home.
I wrote 'Marvels,' which was about a guy who had two daughters, and I wrote 'Astro City Volume 2 #1,' which was about a guy who had two daughters. In both cases, about a year and a half or two years apart. And then after that, I had two daughters, about a year and a half or two years apart.
In terms of the 'X-Men: Days of Future Past' movie, Bryan Singer has been a part of the X-Men family from the first movie. He knows about the comics canon and how it relates to his work as a filmmaker. He's more well versed in the canon than most, as are the people that are working with him.
The one thing I have never been comfortable with in the modern presentation of character - and it may have changed, this is some years ago - is their total isolation from the rest of the world. It's all about superheroes interacting with superheroes. There's no normal life. No normal people.
I'm really proud of all the stuff we've built with Green Lantern - from Larfleeze to the different corps. The universe has expanded and will live well past my run. It was more than just telling another story, but really giving back to the character by expanding and adding to their mythology.