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[personal profile] laughing_tree


"If your ideas go into wilder, Mort Weisinger/psycho-dramatic areas, it gets more difficult for an average, overworked editor to recognize the subversion (if you can call his pacifism 'subversion'), even though it’s right there in front of their face. And, on top of that, no one really gave two shits about Superman comicbooks back in, what was it, 2003…? Ah, the good ol’ days…" -- Joe Casey

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[personal profile] laughing_tree


"The whole concept of fight scenes in superhero comics has become pretty fuckin’ impotent as a device to propel or advance a story. For me, it’s because the stakes involved are usually either dramatically nonexistent or so esoteric that they end up meaning nothing to the reader because they can’t relate to the overriding conflict involved (Iron Man fights Captain America. The Marvel Universe fights Skrulls. Avengers fight X-Men. The Flash fights an Elseworlds reality. The DC Universe fights its own continuity. Blah, blah, fuckin’-blah… another verse, same as the first)." -- Joe Casey

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[personal profile] laughing_tree


"There are certain editors you work with where you end up playing that game of, basically, writing over their heads… and for me, that was never more true than my last year on Superman." -- Joe Casey

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[personal profile] laughing_tree
In the comments for [personal profile] starwolf_oakley's SAVIOR 28 posts, I had an interesting conversation with some others about the feasibility of superhero stories where the lead is a pacifist, where they consistently win without having to use violence.

That put me in my mind of Joe Casey and Derec Aucoin's final year on ADVENTURES OF SUPERMAN in the early oughties, in which Casey wrote Superman as a pacifist. In this whole run, Superman never throws so much as a single punch. I would say that it shows that, yes, it's perfectly feasible to do pacifist superhero stories.



That said, the first issue of the run isn't really a good illustration of that. It's... an odd one. But it's where I'll start for the sake of completeness.

---

"I’ll always write a pacifist Superman. That’s just how I see him." -- Joe Casey

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[personal profile] starwolf_oakley
A page posted from GOD LOVES MAN KILLS, Kitty Pryde said Nightcrawler had a right to be bitter over his appearance, but isn't. I'm not sure how true that is. Kurt Wagner can be VERY bitter over his appearance, just not all the time.
Five years back, I said some characters have a "more woobie than thou" attitude. They are jerks to characters who act/believe/think in a certain way, when they themselves have more of a right to act/believe/think that way, but don't. Basically, they *should* be sympathetic to the other characters, but aren't.

Nightcrawler example after the cut, with Ian Churchill art. )
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[personal profile] superboyprime


"I've known Joe [Casey] for years and we're both devotees of the King and his Kosmos, but Captain Victory marks our first collaboration and our first chance to indulge in some Kirby-related celestial hi-jinks together. You know the drill, space soldiers; Don't ask! Just buy!" - Grant Morrison

"There is a moment that occurs in the history of any artistic medium that truly defines it. This is one of those moments. Our sixth issue is the reason Johannes Gutenberg birthed his culture-altering invention. In the face of what we've accomplished here, even sliced bread can suck it. And on top of the massive creative achievement of having all these artists contributing to this issue, we'll also -- once and for all -- make explicit the conceptual connection that Kirby himself only hinted at in his run. The true history of Captain Victory will finally be revealed! It's all-new and it's all-gods, not to mention exposing the dark side of Victory's origins. Retailers worldwide should order big and order often." - Joe Casey

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[personal profile] ozaline


In 2001 Devils Due Productions (at the time publishing through Image and later on their own), acquired the license to publish GI Joe comics, and opted to continue where Larry Hama's marvel run left off (in addition to a Ultimates style reboot, and a new Transformers crossover continuity but those came later). Over their 7 year run they introduced a lot of new concepts, and characters.

Inevitably they also touched on some ground that Larry Hama later would with his own version of the post Marvel events, though in very different ways.

Sean Collins in both universes joins the GI Joe team: as Snake-eyes Ninja apprentice Kamakura in DDP, and as Throwdown in IDW, for example.

And in both universes Snake-eyes dies )

And I swear that'll be my last Joe related post for a while... probably.
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[personal profile] superboyprime


Matt Fraction: What I should have asked was, "How do you convincingly write a conversation about kryptonite?" and not that kryptonite isn't worth writing about. What jacked me up was the flat exposition I crapped out. It wasn't writing. It was Explaining.

Joe Casey: C'mon, you know a lot of these stories deal in metaphors, right? A kryptonite bullet is never just a kryptonite bullet. In a way, you're never really Explaining. Especially when that kind of exposition might actually be necessary for greater reader comprehension, to find the subtext in those conversations can be really fun as a writer. It's human nature to talk about something... and yet the real meat of the discussion -- what you're
really talking about -- is occurring underneath the actual spoken word. Jesus Christ. I'm being really fucking pretentious right now, aren't I...?

Matt Fraction: Here, then: Hey, Joe, do you ever feel disconnected when you either write about fantastic characters like Superman and Zealot or some of the fantastic situations they find themselves in? Have you ever known that, say, you've got to write a scene in which Superman will cross paths with a great big kryptonite bullet and wondered what the FUCK you had to actually say about something like that?

Joe Casey: In this case, if I'm writing superheroes, I have to find the universality of the situation, no matter how outlandish it may be. It could be emotional, it could be intellectual, it could be situational... but it's
got to be there. And those metaphors aren't all that difficult to find. The Kryptonite bullet is that one, laser-precise insecurity that we all have, the one we pray no one ever discovers, because they could slay us with it. Now, that's only one way to interpret it, but it works.

- Matt Fraction and Joe Casey

After 19 issues, Simon Cooke finally goes on a date... )
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[personal profile] superboyprime


'As far as what happened in terms of the soap opera aspect of monthly comicbooks "falling out of favor"... I couldn't tell you. I think extremely influential writers in the modern era -- like Warren Ellis, in particular -- were pretty far removed from employing explicit soap opera aspects in their comicbooks, so there's that. In fact, a lot of British writers, weaned on 2000AD, would obviously steer clear of soap opera in their writing, since it wasn't something that inspired them in the first place. Not to mention, the lack of it was something they used to set themselves apart. To brand themselves as something different from what was then a true staleness in American serialized comicbooks. And it definitely worked, especially in Warren's case. And the writers that came after him -- even American ones -- followed his lead on a lot of their work.' - Joe Casey

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[personal profile] superboyprime


'To accomplish his "mission," his war on crime, [Simon] purposefully cut himself off from his own humanity, in a way. He's finally living outside of the walls he built around himself, and it's not an easy thing to do.' - Joe Casey

The origin of the Prank Addict...

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[personal profile] superboyprime


'Simon Cooke isn’t really the main “hero” of the book. It’s an ensemble story, but the real protagonist, the guy who still trying hard to do something significant with his life on that visceral level that superhero readers respond to, is Keenan. So it’s weird when readers expect Simon to play out a certain role within the narrative, when it’s obviously Keenan who’s serving that same function in a very visceral way. Keenan’s also got the most well-adjusted sex life out of all of the characters introduced so far. That, to me, is not an insignificant detail.' - Joe Casey

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[personal profile] superboyprime


"We're absolutely aware that SEX is fundamentally a soap opera ... The problem is, it's tough to sell soap opera right out of the gate. You need a conceptual hook to get readers initially involved in what you're doing. But that can be a Catch-22 in a big, bad way. Readers sink their teeth into the concept but then might get stuck there. They can't see past the hook, and think that the entire series has to tackle that hook, head-on, on each and every page." - Joe Casey

Young girl get outta my mind... )
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[personal profile] superboyprime


"But even that’s starting to wear a little thin lately. As I embark on yet another round of PR to spread some awareness about SEX and THE BOUNCE and, later in the new year, the GØDLAND FINALE and CATALYST COMIX, I find myself strangely ambivalent about the entire process. And this is really personal shit I’m doing, work-wise, so you’d think I’d be fuckin’ enthused about going out there and talking about it. But, for whatever reason, I’m not quite in the headspace for it. It seems like a dance I may have danced one too many times already." - Joe Casey

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