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Dan Greenfield: How do you compare yourself to Kirby?

Neal Adams: I don’t. He’s a primitive, you know? Everything’s straight lines and curved lines and it’s all bulky and stuff but in the stuff that Jack Kirby leaves out are mountains of material. He just leaves it out because he just doesn’t care. I care too much and I’ll put it in. It’s still Jack Kirby. There’s nothing really about his characters that’s me except for anatomy and shading and these other things that a better artist does. But I’m not a better creator! I’m not a better writer, storywise.


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Dan Greenfield: When was the last time you actually went back and re-read the old Kirby issues? Has it been a long time or…?

Neal Adams: I’ve picked ’em up now and then, you know? I’ve got ‘em lying around the house. But I can’t do that stuff because everybody’s chomped through it, you know? I had to jump forward in time but I used the same characters. I’m not putting new costumes on ’em. They’re wearing the same costumes Jack Kirby had. Maybe the drawing is a little bit better because I’m a better artist than Jack Kirby was.


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He pulls out the comic book, and there's this blonde, Anglo-Saxon gym teacher from the Midwest. I said, "Okay, see, it's sort of my point, Julie."

"What's wrong with this?"

"A blonde Anglo-Saxon white guy from the Midwest. Julie, do you ever watch the Olympics? How often have you seen three white guys, you know, gold, silver, bronze, [standing] together? Usually there's a white guy, a black guy and an Asian guy, or two black guys and a white guy. Three white guys, you don't really see it. Maybe in archery. I'm thinking archery we'd see three white guys."

He says, "What your point?"

I said, "I'm just saying if the ring goes out it's just as likely to find an Asian guy and a black guy, and it is not likely that it's going to find another white Anglo-Saxon protestant guy. That doesn't make any sense."

"You want to draw a black Green Lantern don't you?"

"Well, yeah, that's what I was thinking."

He said, "Will you draw it?"

I said, "Yeah, I'll draw it. No problem."

He said, "Fine, I'll get Denny [O'Neil] to write a script."

"Make him civilized, Julie, you know, not a gangster or anything."

"We'll make him an architect."

"Fine, make him an architect. Out of work. Things aren't so good for out of work black architects."

"Okay, fine, get out of here. Get out of my office. I want it dark in my office again."

So then [Denny] does this script, and I read the first page. Sure enough, he's a black out of work architect, and he's defending a couple of guys on the street from nasty cops. And I read the name of the guy, and the guy's name is Lincoln Washington. Oh, Jesus. So I go to Denny O'Neil, and I go, "Denny, look, I know the answer to this question, but I just have to ask you, Lincoln Washington?"

He says, "Not my name. I didn't do it."

I said, "Who did it?"

He says, "Julie."

"Okay, fine." I go to Julie's room and I close the door.

"What is it? Get out of my office."

"Julie, Lincoln Washington?"

"What's wrong with that name? I know lots of guys with names like that."


- Neal Adams, reminiscing on the creation of John Stewart

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"I told everybody at the beginning that it wasn’t going to be, you know, individual stories, that it was gonna be a novel, and so you have to read the whole thing, and you’re gonna get chapters. And people on the internet started hockin’ me like crazy, ‘He didn’t explain this, and he didn’t tell us this, and what’s going on with this, I don’t understand!’ I don’t understand?! Fuck you. You don’t understand? That’s because you haven’t read the thirteenth chapter! I mean what the hell’s wrong with you, is that the way you read a book – you read a chapter and then you bitch at the author? I don’t think so! So, I’m trying to let people know ahead of time that you gotta read all thirteen chapters so you know what the hell’s going on. And they didn’t wanna wait, those guys on the internet. They just jumped all over my ass. Now the thing is finally collected in a book and you can read the whole thing but when you do something new? Boy, y’know, you become a target." - Neal Adams

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"Guys I’m sorry, fuck you but I’m the target. Go shoot your arrows. Try to get me. I’m runnin’ across the hill over there. And I had a great time! I did a book that I’m tremendously happy with and what’s happening is now people are coming up to me at conventions and stuff going [whispers] ‘I really liked Batman Odyssey. I loved it. Wow it was great.’ Why you whispering? ‘I don’t want anybody to hear me. I’m not supposed to like it. But I loved it.’" - Neal Adams

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[personal profile] thanekos
It was #16.1, from Bendis's second run.

It opened on Norman Osborn in prison.

He wasn't alone in his cell; the Goblin was with him.

The Goblin was in his head. )
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"I've done almost as much writing as I've done drawing, but people just don't know it because people are so enamored of the art. But if you think about it, if you care about my stuff at all, which is totally unnecessary, one of the things you have to look at is I'm a pretty good storyteller. Over and above the image itself, I'm telling a story. That's what I do. I'm an artist who tells stories. I'm not an artist who draws to decorate the Sistine Chapel or something. I'm a storyteller. So I write. I write scripts and advertising and comic books.

"Maybe it's a little harder for an artist to write, but I haven't seen anyone write Deadman to my satisfaction since I did it, honestly. And the X-Men stories I plotted have stood the test of time, because my initial 10 issues was the plot of the first X-Men movie, with Magneto turning humans into mutants. That was the basic plot of my first series of X-Men stories. I've seen now my Batman turned into the last two Batman movies. Yes, things have changed, but there's Ra's Al Ghul up in the mountains with the snow, so it's very, very reminiscent of my Batman. And the Green Arrow I helped to define is now on Smallville, and Hal Jordan is going to be in the Green Lantern movie. So what's happened is that much of my old stuff has ended up on film or television, so it's time for me to jump back in and play with these things again." - Neal Adams

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