laughing_tree: (Seaworth)
[personal profile] laughing_tree


That's kind of been what I've been orbiting around for a while in terms of the nature of the Hulk. Hulk as a kind of demonic figure spawned by mankind from the bomb, like something from the Book of Job, walking up and down on the world and judging it. Not a supernatural figure, but a figure that could occupy that space in a scientific world. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


It's all this big morass of quite deeply personal stuff, poured into this comic about this walking symbol of atom-bomb anxiety. And luckily the Hulk's old enough, loose enough and weird enough to take the weight of it. Much as I like other super heroes, you couldn't really do this with Spidey. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


In 11-13, we're in Hell. Not even Marvel Universe Hell, which is quite cuddly at this point — a more literal, theological interpretation. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


Since the movies, the Hulk's been very much an Avenger in a way he never has before. From the outside - the average citizen of the Marvel Universe - that probably looks like forgiveness. World War Hulk happens, and a little while later, he's assembling in Stark Tower. "Why isn't he in the Hague?" wonders some sweet old lady who lost their entire block. Maybe they take a look back over the history of Bruce Banner - and find out that he became the Hulk through saving a life... and then became the Hulk AGAIN because he got jealous of Doc Samson. It's muddy with him, is the point, especially when you live in that universe. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


It was nice writing Galactus again, too. I like where Jason’s gone with him, but there was that moment I had to sort of let him go and bid him farewell, because my time with him is over, so it was slightly bittersweet too, in a nice way. I think I gave him a decent goodbye in the end. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


Back in those first couple of issues, he was pretty intelligent, although later he fell into a kind of Cartesian dualism where Banner was all brain and the Hulk was all body. Personally I like smart Hulks better than dumb ones, especially for horror — for the simple reason that a dumb Hulk can be controlled. When a monster like the Hulk isn't just a bellowing beast — when he has his own agenda, and you don't know what it is, and he might be two steps ahead of you, that's inherently more frightening. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I'm very conscious that I'm looking through the lens of all this internal stuff, this fear of death and the apocalypse, and this internal struggle between my conscious atheism and a more deep-down subconscious faith that's harder to grasp and work out, and emotional issues, particularly my anger and the things I get angry about... but I know without all that stuff, the book wouldn't be what it is, and I wouldn't be as invested in it, and people would smell that lack of investment coming off it.

If I was just coming at it completely dispassionately, like some executive in a writer's room going "so what do the kids want from the Hulk? How about he rides a skateboard? How about he makes YouTubes?" - there just wouldn't be anything there.


-- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I think it's a continuation of a trend that's been going for a long time, that you can fit Fraction/Aja's Hawkeye into, and King/Walta's Vision into, and Ahmed/Ward on Black Bolt... this use of these very archetypal super-characters to say something quite personal and introspective. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


We've got our big battle with the Avengers coming up in a few short issues' time - I just wrote that one - and that was probably the trickiest in terms of keeping it as a horror book, finding a way to do that, to show something that's been shown over and over since the sixties, and take an angle on it that felt fresh, new and different. It's the big test of the lens we've built - can we look at a team everyone knows, and show them through that horror lens, and make them seem unsettling? And it turns out, we can. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I was very keen to avoid a lot of the things I'd done in the past that readers hadn't cottoned to. I used to be a big fan of crossovers and tie-ins, for instance, though not any more. I've tried to make this absolutely crossover-proof, so you can sail right through buying just the one comic for the rest of your life and feel like you've missed nothing, even if I'm also writing Hulk in the Defenders one-shots and places like that. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


If you're picking apart scripts written over a year ago, before I even pitched IMMORTAL HULK, to work out where that book's going or what my attitude to the Hulk is - you're on a fool's errand. Trying to predict the flight path of a butterfly from a long-shed cocoon.

But if you're after some insight - why not pick up PANEL X PANEL, where you're guaranteed to find all my latest thoughts on the book, as well as the rest of the team's, and some all-around great comics criticism? I hear it's out tomorrow!


-- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


You wanted ol’ Jade‐Jaws not to be dead? Surprise. He’s never going to be dead. You’re stuck with him, and he’s not a big cuddly green guy any more, he’s not fun, he’s terrifying, and he’s coming for you. -- Al Ewing

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lordultimus: (Default)
[personal profile] lordultimus


Alan Moore: If people out there wish that I would do nothing but wholly serious work, then I suggest they don't have much imagination as to what it is to be a writer; and they don't know what goes into doing relentlessly serious work day after day. If I was to just do From Hell, I should probably be mad after a couple of years! From Hell is my favorite work, but it's very demanding, and it's nice to get out from time to time and play. There's an incredible exhilaration with these superhero comics, and I can experiment more than I do with From Hell. I think that play is very undervalued, because play is some of the more productive, creatively speaking, activities that's done in the comics industry.

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lordultimus: (Default)
[personal profile] lordultimus


Alan Moore: I'm not slagging off the rest of the comics industry, but there are a lot of books around these days that seem to be mining the same tired vein of tough, gritty, dark, frightening comics. It seems as though that was the last thing people found interesting in comics, and no one's thought of anything new to do yet. I think there seems to be something in the mix we're putting together in Supreme that is catching on to a degree. Maybe it will only cater to a handful of fans, but the sales do appear to be going up. I'm hoping that if we can build upon it, it will give us a platform to exploit one of the main possibilities of comics right now, which I think is one of the main possibilities for culture right now.

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lordultimus: (Default)
[personal profile] lordultimus


Alan Moore: I think the reason that the '90s would be crying out for this type of material has to do with imagination. To me, imagination is the most valuable currency in comics. Whenever comics start to get lazy, you can see it fall back upon the sort of traditional things to get the reader's attention. Either the violence level will go up, the size of the guns will go up, or maybe the size of the female characters’ breasts will go up. Nothing against these things in their own place and time, but if you want to see large breasts, there's much more interesting places to see them than in comics. I think the same goes for guns and violence as well. The thing that got me--as well as all of us, I'd imagine--interested in comics was the world of imagination that they opened. I think that that's probably the essence of comics for most of us. I wanted to re-inject that sense of imagination into comics, and make them fun at the same time. - Source

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


Oh, and there's a guest appearance by a certain hairy Canadian with claws—not that one—who'll become very important to this book... -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


All these changes are in service of one thing -- making this Hulk frightening. This is not a loud rage-bomb to drop on people, or the return of the cool character you wanted. This is the monkey's paw wish. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


You might go into this thinking you know about the Hulk, but new reader or old… there will come a moment when you look into the eyes of this Hulk and you’ll feel that moment of fear. Because you don’t know him at all. -- Al Ewing

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


In terms of what I want to do with it, the level of ambition... I'm pushing this one very hard, and in a different direction from what I usually do. See... when I made my start in UK comics, I started as a horror writer. Not many people know that. The first few stories I was ever paid to tell were horror stories - very dark and very creepy. But I don't think I've ever really done a long-form horror/suspense book for Marvel.

Not until now.

It's going to be big. And - no false modesty here - it's going to be very, very good. We've got an incredibly talented artist putting their all into it, and we've got me writing a character I've loved since my childhood - and not letting that love stop me.

This is going to be the book of 2018. Don't sleep on it.


-- Al Ewing

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[personal profile] superboyprime


"The Crew was custom-tailored for Marvel’s marketing department. It could have been—and could be today in trade paperback—a trial balloon used to explore new markets. The one story arc, 'Big Trouble In Little Mogadishu,' has no specific bearing on current continuity (whatever that may be), and the people Marvel would be trying to reach with this don’t read comics and wouldn’t have any idea about continuity anyway. I wrote this series eight years ago. Marvel has done absolutely nothing with it. They sent it to Diamond as part of a flood of poorly-planned new launches, most of which were summarily cancelled. And, despite my routine pleas to the contrary, Marvel has not shown the least interest in packaging the series and approaching black and Latino channels for distribution.

"The abrupt and premature cancellation of The Crew, which I was terribly invested in and extremely proud of, was, for me, the death knell. I threw up my hands, that’s it for me and comics. Had Tom not offered me Captain America and The Falcon, The Crew would have been my last published comics work. It’s not the art form I despise so much, it’s the idiocy of the people controlling it. Billions of dollars lying on the floor. So many bills we’re slipping in them as we walk past trying to sell the same old crap to the same old people."

- Christopher Priest

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