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[personal profile] laughing_tree


I get that gut reaction, the feeling that it's not "right" to mesh bits from these different narrative worlds together, but it's been shown time and time again that comics are the perfect place to go crazy and attempt things that would give other stories pause. There's a reason why movies and TV have been rushing to catch up to the potential of comics and I think a big part of that is the fact that, as a medium, we take more risks and do stranger stuff. -- Jim Zub

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[personal profile] laughing_tree


I very deliberately wrote a Post-Nextwave Monica instead of Nextwave Monica, precisely because it was time to move on. Bringing Nextwave into a form of "continuity" was a way of metabolizing it, so it needn't hang over those characters forever. (Warren's a big influence for me in terms of his ability to cut to the heart of a character or concept, find The Thing That Makes It Cool, and then present that simply and with style.) -- Al Ewing

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[personal profile] laughing_tree


If you want the oomph and the crackle, sometimes only the real Conan will do. Is it a stunt? Well... we are jumping a lot of buses with this one. We're jumping the Grand Canyon on a rocket cycle. You'll have to wait and see if we land it. -- Al Ewing

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[personal profile] laughing_tree


Surprisingly -- because I don’t normally enjoy writing villains -- our Big Bad’s dialogue seems to come to me effortlessly. We ended up with a good, relatively unique “voice” for that character. -- Mark Waid

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[personal profile] laughing_tree


The Mantlo/Mignola/Gordon “Rocket Raccoon” limited series got reprinted in one of the Marvel UK comics of my childhood, so I do have some rosy, cosy memories of it. He was pretty much a totally different person back then - and from what I recall, a much less troubled one. Occasionally, bits and pieces of that old life will surface - someone will get past his defenses by reminding him of the old days, or he'll have retained a piece of kit from his time as Ranger Rocket - but to remember is painful. It's a very noir trope - the old, good time that the hero lost and can never get back. The long-buried sadness. -- Al Ewing

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[personal profile] laughing_tree


Hawkeye's desperate desire for public validation [in old comics] is fascinating in light of what will follow for him. Especially in terms of his current characterisation as The Old Man Who Used To Be Cool. At least that's my interpretation of him - once a semi-major figure in an important cultural scene that's since left him behind. In a way Hawkeye's the only Marvel superhero who's realistically aged. -- Al Ewing

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[personal profile] laughing_tree


WARNING: Hulk and Hawkeye will not be sharing a friendly laugh about recent events. AT ALL. -- Al Ewing

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[personal profile] lordultimus


"We were asked to submit a Superman proposal, which we did. It was rejected, and the quote I was given was, 'Do you honestly believe DC will ever give you the keys to the family car?' I can say here and now that the Superman proposal by Waid, Peyer, Morrison, and Millar was the best, most thoroughly worked-out take on a major character you are ever likely to see. It was Superman Plus. I wrote most of it after meeting the Man of Steel at 2am opposite the Sheraton in San Diego -- a true shamanic moment.

"He was wearing the best Superman suit I've seen and looked fantastic as Superman—a cross between Chris Reeve and Billy Zane—so we asked him if he'd answer some questions which he did—in the character of Superman! It was like a possession—I'd say to the guy, 'So how do you feel about Batman?' and he'd come back with 'Well, Batman and I don't really see eye to eye on a lot of things. He's so hung up on the darkness in everyone's soul and I just don't see it that way...' and so on. He spoke to us for about an hour and a half.

"The thing that really hit me, wasn't so much what Superman was saying as how he was sitting. He was perched on a bollard with one knee drawn up, chin resting on his arms. He looked totally relaxed...and I suddenly realized this was how Superman would sit. He wouldn't puff out his chest or posture heroically, he would be totally chilled. If nothing can hurt you, you can afford to be cool. A man like Superman would never have to tense against the cold; never have to flinch in the face of a blow. He would be completely laid back, un-tense. With this image of Superman relaxing on a cloud looking out for us all in my head, I rushed back to my hotel room and filled dozens of pages of my notebook with notes and drawings.

"We had the 21st-century Superman, we had four guys who'd been waiting all their lives to do this, we wanted to launch in January 2000, and we'd have sold a million copies. It would have been the coolest, biggest thing to happen to Kal-El since the Byrne revamp, and DC blew it. I have nothing but respect for Joe Kelly and Jeph Loeb and the other guys currently on the books, but they haven't been allowed to go far enough, and as a result, the current revamp seems a little muted. Not being able to do Superman and not being offered anything else at DC was the main reason I decided to do Marvel Boy for Jimmy Palmiotti and Joe Quesada."
- Grant Morrison







In 1998, four DC Comics writers (Grant Morrison, Mark Waid, Mark Millar, and Tom Peyer) were approached by then new editor for the Superman books Eddie Berganza to bring Superman into the new millennium. By October, they gave him an in-depth 21 page proposal, intending on building on what the Post-Crisis established to reintroduce classic concepts in a new and different light. The plan was to establish the entire Post-Crisis period, with it's relatively limited in scope Superman who thought himself as nothing more than another Earthman, as the prelude to something truly legendary in every meaning of the word.

Berganza gave it the green light, liking it so much that he fired longstanding Superman writers/artists Dan Jurgens and Jerry Ordway in preparation for the coming of the four collaborative writers, whose tenure was scheduled with Berganza's first issue.

However, DC editor Mike Carlin (or possibly publisher Paul Levitz) then returned from vacation and was shocked to discover that big changes were being implemented to Superman without his knowledge. He vetoed the project, partially because such a huge change was being made effectively behind his back and partially because, at this time, DC also adopted a policy of prohibiting "big name creators" from working on their core Superman and Batman books. Ordway was offered his old job back, but declined due to having already lined up work at Marvel. Jurgens was let go in favor of 'new blood'. Berganza recruited then-second tier talent like Joe Kelly and Jeph Loeb, and industry veteran J.M. Dematteis, to script a soft relaunch of the books with little fanfare, though they attempted their own take on reincorporating older concepts into the current Superman mythos.

While most of this is behind closed quarters and we'll likely never truly know everything, there appear to be two different versions of this proposal created. There's some debate as to whether one (specifically, the one more Morrison-centric) was created as an attempt to sway Carlin after his rejection of the first, but both seem to be intertwined. One is Superman NOW, helmed mostly by Grant Morrison, which has never been released to the public and is largely unknown, and the other is Superman: 2000, probably largley curated by Mark Waid, was leaked in spurts through the internet, eventually cobbled together by enterprising fans who wondered what might have been.

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[personal profile] superboyprime


"I'm okay with a Doctor Strange who can do kind of whatever I need him to in a story. I just need him to have a good reason for doing it and I need there to be consequences for what he does, but I don't need to catalog his powers and spells down to the last detail." - Mark Waid

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[personal profile] superboyprime


"I got taught a lot of great lessons by superhero comics as a kid about virtue and self-sacrifice and responsibility. And those were an important part of imprinting my DNA with ethical and moral values. But conversely, some of the other things you can take away from superhero comics if you’re not careful are: It’s okay to lie to people about who you really are. Or, and I come back to this one, because I still wrestle with this to this day, which is people love you not for who you are, but for what you can do for them." - Mark Waid

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[personal profile] alliterator


Westfield: What about the character of Stephen Strange appeals to you?

Mark Waid: That he’s a thinker. A learner. A man who's dedicated his life to personal betterment, only to have had to start again at the bottom more than once and rebuild himself.

-- Westfield comics blog interview.

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[personal profile] laughing_tree


Here's the thing: Look, we always say "magic has a price" and we're always looking for a way to limit Doctor Strange's powers and so forth and so on. But I gotta tell ya, that doesn't always fly with me. What makes him limited is not interesting to me. It's what he does with his powers that makes him interesting to me. I understand putting some limitations on him, but I don't think comics are about characters who have to follow rules. They're about flying, right? They're about doing impossible things. I think the more rules and regulations we put on our characters... That's just my own personal opinion, but it doesn't wash for me. -- Mark Waid

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