scans_daily

Feb. 10th, 2017

FANGORIA: What was the genesis of MARSHAL LAW?

PAT MILLS: [MARSHAL LAW artist] Kevin O’Neill came up with this amazing looking future cop and we then searched for a story for him. Initially we trod the MAD MAX road. Then, I had a plot about future crime in a TOUCH OF EVIL world. We sold this to Marvel. But then I felt that the guy really was some kind of superhero and the story should reflect this. But I hated superheroes! So I thought: What about making him a superhero hunter, where I could vent my spleen on them, a story I am supremely qualified to write. I tentatively suggested this to Kevin who added a future war context and we were away. So Marvel didn’t actually get the character they commissioned, but rather the same story with a whole new dimension. I’m not sure they were altogether happy about that, although they never said anything.

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lordultimus

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lordultimus

( What If... we saved the worst for last? )

cyberghostface

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Don't know what to tag this with so I did Image as they were the original publisher way back.

lordultimus

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superfangirl1

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history79

FANGORIA: You clearly have a deep and abiding loathing for superheroes. Which, in the age of THE DARK NIGHT and THE AVENGERS, must be fun for you! Do you feel superheroes have moved on at all since you first started putting the boot in during the 1980s?

PAT MILLS: Nah. They seem more self aware and pretentious now, but the 21st century so far is hardly a time of creative progress. I read some highly-rated Superman origins book by Grant Morrison a couple of years back, expecting some new Scottish insights into the character and was surprised by how deferential it was. Well, I guess that’s what the fans want. Don’t blame us. If they want the forelock tugging approach it only reflects the wider world.

My loathing is more for what they represent—nothing wrong with a hero with special powers, if he isn’t just a tool of the establishment. So I did an Indian super hero once–BLACK SIDDHA–who originally didn’t want to be a hero (like they do). He said, “I can’t be a superhero. I’m not American.”

Well, it amused me!

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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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commodus

TW: Blood, death, terrorism allusions.

From Wolverine #42, written by Mark Guggenheim and with (beautiful) art by Humberto Ramos.
The Crusader is a favourite villain of mine. He explores what real-life religious fanatics would make of a world where Norse Gods, Spider-Men and Squirrel Girl were a fact of everyday life. In his first appearance, he was downright deadly, actually winning his first fight with Thor thanks to his enchanted armour and sword. But by the time of this comic, he's clearly a little more desperate - but no less fanatical!
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thanekos

In doing so, he learned that his father from Ektae- the realm that, every seven years for one week, linked up with Earth- was still alive.

Standing on the shores of Tarn Smithseat on Ektae, he knew that he wanted answers.

So he went to his surrogate mother, who told him the story of how his dads'd met about thirty-five years ago.

( It happened when they were both on Earth. )