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wickedpact · 3 years ago

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heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ‘how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got…’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

#tog interviews #i dont remember the tag i use for transcripts

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themollyjay · 3 years ago

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The Myths of Forced Diversity and Virtue Signaling.

In my novel Mail Order Bride, the three main characters are a lesbian and two agendered aliens. In my novel Scatter, the main character is a lesbian, the love interest is a pansexual alien, and the major side characters include a half Cuban, half black Dominican lesbian, a Chinese Dragon, a New York born Jewish Dragon, and a Transgender Welsh Dragon. In my novel The Master of Puppets, the Main Characters are a lesbian shapeshifting reptilian alien cyborg and a half black, half Japanese lesbian. The major side characters include three gender fluid shapeshifting reptilian alien cyborgs, and a pansexual human. In my novel Transistor, the main character is a Trans Lesbian, the love interest is a Half human/Half Angel non-observant Ethiopian Jew, and the major side characters include a Transgender Welsh Dragon (the same one from Scatter), a Transgender woman, a Latino Lesbian, an autistic man, three Middle Eastern Arch Angels, and a hive mind AI with literally hundreds of genders. In my novel The Inevitable singularity, one of the main characters is a lesbian, another has a less clearly defined sexuality but she is definitely in love with the lesbian, and the third is functionally asexual due to a vow of chastity she takes very seriously. The major side characters include a straight guy from a social class similar to the Dalit (commonly known as untouchables) in India, a bisexual woman, a man who is from a race of genetically modified human/frog hybrids, and a woman from a race of genetically modified humans who are bred and sold as indentured sex workers.

Why am I bringing all of this up? Well, first, because it’s kind of cool to look at the list of different characters I’ve created, but mostly because it connects to what I want to talk about today, which should be obvious from the title of the essay. The concepts of ‘forced diversity’ and ‘virtue signaling’.

For those who aren’t familiar with these terms, they’re very closely related concepts. ‘Forced Diversity’ is the idea that characters who aren’t neurotypical cisgendered heterosexual white males are only ever included in a story because of outside pressure from some group (usually called Social Justice Warriors, or The Woke Brigade or something similar) to meet some nebulous political agenda. The caveat to this is, of course, that you can have a women/women present as long as they are hot, don’t make any major contributions to the resolution of the plot, and the hero/heroes get to fuck them before the end of the story. ‘Virtue Signaling’, according to Wikipedia, is a pejorative neologism for the expression of a disingenuous moral viewpoint with the intent of communicating good character.

The basic argument is that Forced Diversity is a form of virtue signaling. That no one would ever write characters who aren’t neurotypical cisgendered heterosexual white males because they want to. They only do it to please the evil SJW’s who are somehow both so powerful that they force everybody to conform to their desires, yet so irrelevant that catering to them dooms any creative project to financial failure via the infamous ‘go woke, go broke’ rule.

What the people who push this idea of Forced Diversity tend to forget is that we exist at a point in time when creators actually have more creative freedom than are any other people in history. Comic writers can throw up a website and publish their work as a webcomic without having to go through Marvel, DC or one of the other big names, or get a place in the dying realm of the news paper comics page. Novelists can self-publish with fairly little upfront costs, musicians can use places like YouTube and Soundcloud to get their work out without having to worry about music publishers. Artists can hock their work on twitter and tumblr and a dozen other places. Podcasts are relatively cheap to make, which has opened up a resurgence in audio dramas. Even the barrier to entry for live action drama is ridiculously low.

So, in a world where creators have more freedom than ever before, why would they choose to people their stories with characters they don’t want there? The answer, of course, is that they wouldn’t. Authors, comic creators, indie film creators and so on aren’t putting diverse characters into their stories because they are being forced to. They’re putting diverse characters into their stories because they want to. Creators want to tell stories about someone other than the generically handsome hypermasculine cisgendered heterosexual white males that have been the protagonists of so many stories over the years that we’ve choking on it. A lot of times, creators want to tell stories about people like themselves. Black creators want to tell stories about the black experience. Queer creators want to tell stories about the queer experience.

I’m an autistic, mentally ill trans feminine abuse survivor. Every day, I get up and I struggle with PTSD, with an eating disorder, with severe body dysmorphia, with anxiety and depression and just the reality of being autistic and transgender. I deal with the fact that the religious community I grew up in views me as an abomination, and genuinely believes I’m going to spend eternity burning in hell. I deal with the fact that people I’ve known for decades, even members of my own family, regularly vote for politician who publicly state that they want to strip me of my civil rights because I’m queer. I’m part of a community that experiences a disproportionately high murder and suicide rate. I’ve spent multiple years of my life deep in suicidal depression, and to this day, I still don’t trust myself around guns.

As a creator, I want to talk about those issues. I want to deal with my life experiences. I want to create characters that embody and express aspects of my lived experience and my day-to-day reality. No one is forcing me to put diversity into my books. I try to include Jewish characters as often as I can because there have been a number of important Jewish people in my life. I include queer people because I’m queer and the vast majority of friends I interact with on a regular basis are queer. I include people with mental illnesses and trauma because I am mentally ill and have trauma, and I know a lot of people with mental illnesses and trauma. My work may be full of fantastical elements, aliens and dragons and angels and superheroes and magic and ultra-high technology and AI’s and talking cats and robot dogs and shape shifters and telepaths and all sorts of other things, but at the core of the stories is my own lived experience, and neurotypical cisgendered heterosexual white males are vanishingly rare in that experience.

Now, I can hear the comments already. The ‘okay, maybe that’s true for individual creators, but what about corporate artwork?’. Maybe not in those exact words, but you get the idea.

The thought here is that corporations are bowing to social pressure to include characters who aren’t neurotypical cisgendered heterosexual white males, and that is somehow bad. But here’s the thing. Corporations are going to chase the dollars. They aren’t bowing to social pressure. There’s no one holding a gun to some executive’s head saying, “You must have this many diversity tokens in every script.” What is happening is that corporations are starting to clue into the fact that people who aren’t neurotypical cisgendered heterosexual white males have money. They are putting black characters in their shows and movies because black people watch shows and spend money on movies. They are putting queer people in shows and movies because queer people watch shows and spend money on movies. They are putting women in shows and movies because women watch shows and spend money on movies.

No one is forcing these companies to do this. They are choosing to do it, the same way individual creators are choosing to do it. In the companies’ cases the choices are made for different reasons. It’s not because they are necessarily passionate about telling stories about a particular experience, but because they want to create art to be consumed by the largest audience possible, which means that they have to expand their audience beyond the neurotypical cisgendered heterosexual white male by including characters from outside of that demographic.

And the reality is, the cries of ‘forced diversity’ and ‘virtue signaling’ almost always come from within that demographic. Note the almost. There are a scattering of individuals from outside that demographic which do subscribe to the ‘forced diversity’ and ‘virtue signaling’ myths, but that is a whole other essay. However, within that demographic, lot of the people who cry about ‘forced diversity’ see media and content as a Zero-Sum game. The more that’s created for other people, the less that is created for them.

In a way, they’re right. There are only so many slots for TV shows each week, there are only so many theaters, only so much space on comic bookshelves and so on. But at the end of the day, its literally impossible for them to consume all the content that’s being produced anyway. So, while there is, theoretically less content for them to consume, as a practical matter it’s a bit like someone who is a meat eater going to a buffet with two hundred items, and then throwing a tantrum because five of the items happen to be vegan.

The worst part is, if they could let go of how wound up they are about the ‘forced diversity’ and ‘virtue signaling’ they could probably enjoy the content that’s produced for people other than them. I mean, I’m a pasty ass white girl, and I loved Black Panther.

So, to wrap out, creators, make what you want to make, and ignore anyone who cries about forced diversity or virtue signaling. And to people who are complaining about forced diversity and virtue signaling, I want to go back to the buffet metaphor. You need to relax. Even if there are a few vegan options on the buffet, you can still get your medium rare steak, or your chicken teriyaki or whatever it is you want. Or, maybe, just maybe, you could give the falafel a try. That shit is delicious.

#writing #original fiction #media #representation #diversity #the war of souls #the hearts of heroes #The Master of Puppets #scatter #transistor #the inevitable singularity #mail order bride

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marvelgiggles · 4 years ago

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Rainy Days

I’m back!!! I might be a little rusty so sorry in advance.

Here anon. I’m so sorry it’s taken MONTHS for me to write this but I wanted to give you the best fic I could.

Up Next: Part 2 prompt for Anon 😏

“Sweetheart how is that blaster coming?” Your dad asked you when he walked into the larger than life lab at the Avengers compound.

Your dad and you were just tinkering around in the lab, you would work on projects together or do your own things. It was your favorite way to bond with your dad, but it was also one of your favorite places to relax, disconnect and be as creative as you wanted. It was kind of like a security blanket.

“Yeah. Just about.” You trailed off as the blaster suddenly shot at the wall. However since your dad was a genius, he installed vibranium around the lab so there was no damage done.

“Woah. There sparky, careful now.” He chuckled at your sudden reaction to the blast.

You just chuckled and shrugged your shoulders, you both knew how much damage he did when he first started making the Iron Man suits. The both of you continued to work in peace and to AC/DC music until suddenly it was dark out and way past dinner time.

“Hey bug, let’s grab some shawarma, yeah?”

You grinned and followed your dad out of the lab into the main living room. Your favorite sectional couch was in there as well as your favorite blanket. Your dad threw on a movie and the both of you savored the best shawarma from New York and you forgot all of the world’s problem, that was until you heard a big clap of thunder.

You gripped the edges of your favorite blanket tighter around you in another form in protection from the thunder and storm outside. There was a hand on your shoulder and you flinched so hard you almost fell off the couch.

“Oh sweetheart, come here.” Your dad said as he pulled you into his strong and familiar arms. “Honey, there isn’t anything to be afraid of. It’s okay, plus you know the God of Thunder.”

“But does he have to make it so loud?” You said quietly into your dad’s chest. You felt it rumble as he chuckled at your statement. “Can you call him to make it stop?”

He simply just shook his head at you. “I don’t think he’s going to get the message, he probably doesn’t have great cell service.” You let out a little noise of disappointment and burrowed further into your dad’s chest. He held you closer and his beard accidentally brushed by your neck.

You squealed and instantly started to rub your ear to your shoulder to get rid of the ticklish sensations your dad’s beard caused.

“Oh ho ho. What do we have here?” He chuckled again.

“Nothing.” You said quickly trying to get out of your dad’s arms.

“This might be a good way to distract you.” He said as he shoved his beard back into your neck causing you to squeal and make more of an effort to get out of your dad’s arms. However, trying to push yourself away opened up your neck more causing him to blow rapid raspberries.

“Dahahahahahad! Stahahahahap!” Your neck was very sensitive, probably your second worst spot but it was too hard to determine that because you were so ticklish everywhere.

“I’m not convinced you are distracted yet.” He hummed as you felt his fingers insert into your armpits, since you were still trying to push yourself out of your dad’s arms. However, because of the addition of the new ticklish spot you collapsed into your dads chest since your arms slammed down in instinct.

You started to laugh uncontrollably, not quite belly laughter but not just giggles either. You couldn’t help but try to twist out of his arms either but you weren’t getting very far because of your dad’s strong arms wrapped behind you.

“Why are you trying to get away Y/N? Does it tickle too much?” Your dad asked you obliviously. “I’m not even tickling your worst spot yet.” He moved his fingers from your armpits down to your ribs, not your worst spot but definitely getting closer.

You start to cackle and have more room to move around because you have the freedom to move your arms and you don’t have to worry about guarding your neck. Although in a blur you are suddenly down on your back with your dad hovering over you.

“You know Y/N, your ticklishness is one of the multiple reasons I love you so much. Especially when I tickle you here!” You dad said as he then put both hands on your tummy and rapidly starts to vibrate.

You screamed so loud you were sure the entire complex heard you. You arched your back and feel into deep belly laughter, one of your dad’s few weaknesses. “Okay hun, where do raspberries tickle more, here?” He blew a quick one in your neck. “Or here?” He blew a quick one above your belly button.

These were two intense ticklish feelings so close together you couldn’t answer him from how hard you were laughing.

“Come on Y/N. I need to know, which one tickles more?” He continued his actions but you were still laughing too hard to make a decision. Thankfully, after a while he gives you a break to answer him. “Hmmmm?”

You took a deep breath but you couldn’t look your dad in the eyes when you gave him you answer. “My tummy.”

“Okay good! Now I know where to focus.”

“No wait!” It didn’t matter, your dad buried his face in your tummy and went to town. Blowing raspberry after raspberries, while digging his thumbs into the sides of your tummy. It didn’t take long for you to go into silent laughter, due to the two different methods tickling your worst spot.

Finally your dad quit torturing you and he drew you back into his arms. You were exhausted from all the fighting, laughing and the tickling you went through, you simply feel asleep in your dads are. For the first time in forever, the sounds of the storm lulled you to sleep especially in the comfort of your dad’s arms.

#tony stark x y/n #tony stark x daughter!reader #tony stark x you #mcu tickle fic #mcu tickle #ticklish!reader #tickle #ticklish #marvel tickle #tickle marvel #tickle ticklish #marvel tickle fic #tickle mcu

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wits-writing · 4 years ago

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What’s so Funny About Vengeance, the Night, and Batman? – Two Superhero Parodies in Conversation

Back in 2016, the first trailers for Director Chris McKay’s The Lego Batman Movie hit. A spinoff of the take on the iconic hero, voiced by Will Arnett, from 2014’s The Lego Movie. Those trailers spelled out a plot covering how Batman’s life of crimefighting is turned upside down when Robin unexpectedly enters the picture. It was a funny trailer, promising another insightful comedy from the crew behind The Lego Movie. A promise it handily delivered on when it came out in February 2017 with an animated feature steeped wall-to-wall jokes for the sake of mocking Bruce Wayne’s angst filled crusade that can only come from understanding what’s made the character withstand the test of time.

But there was a thought I and others had from seeing that trailer up to watching the actual movie:

“This seems… familiar.”

Holy Musical B@man! is a 2012 fan-made stage production parody of DC Comics’ biggest cash cow. It was produced as the fifth musical from YouTube-based cult phenomenon Starkid Productions, from a book by Matt and Nick Lang, music by Nick Gage and Scott Lamp with lyrics by Gage. The story of the musical details how Robin’s unexpected entrance ends up turning Batman’s (Joe Walker) life of crimefighting upside down. Among Starkids’ fandom derived projects in their early existence, as they’ve mainly moved on to well-received original material in recent years, Holy Musical B@man! is my personal favorite. I go back to it frequently, appreciating it as a fan of both superheroes and musicals. (Especially since good material that touches on both of those isn’t exactly easy to come by. Right, Spider-Man?)

While I glibly summarized the similarities between them by oversimplifying their plots, there’s a lot in the details, both major and minor, that separates how they explore themes like solitude, friendship, love, and what superhero stories mean. It’s something I’ve wanted to dig into for a while and I found a lot in both of them I hadn’t considered before by putting them in conversation. I definitely recommend watching both of them, because of how in-depth this piece goes including discussing their endings. However, nothing I can say will replace the experience of watching them and if I had included everything I could’ve commented on in both of them, this already massive piece would easily be twice as long minimum.

Up front, I want to say this isn’t about comparing The Lego Batman Movie and Holy Musical B@man in terms of quality. Not only are they shaped for vastly different mediums with different needs/expectations, animation versus stagecraft, but they also had different resources at their disposal. Even if both are in some ways riffing on the aesthetic of the 1990s Batman movies and the Adam West TV show, Lego Batman does it with the ability to make gorgeously animated frames packed to the brim with detail while Holy Musical often leans into its low-fi aesthetic of characters miming props and sets to add extra humor. They’re also for different audiences, Lego Batman clearly for all-ages while Holy Musical has the characters cursing for emphasis on a regular basis. On top of those factors, after picking through each of these for everything worth commenting on that I could find, I can’t say which I wholly prefer thanks in part to these fundamental differences.

This piece is more about digging through the details to explore the commonalities, differences, and what makes them effective mocking love letters to one of the biggest superheroes in existence.

(Also, since I’m going to be using the word “Batman” a lot, I’ll be calling Lego Batman just “Batman” and referring to the version from Holy Musical as “B@man”, with the exception of quoted dialogue.)

[Full Piece Under the Cut]

Setting the Tone

The beginning is, in fact, a very good place to start when discussing how these parodies frame their versions of the caped crusader. Each one uses a song about lavishing their respective Batmen with praise about how they are the best superheroes ever and play over sequences of the title hero kicking wholesale ass. A key distinction comes in who’s singing each song. Holy Musical B@man’s self-titled opening number is sung from the perspective of an omniscient narrator recounting B@man’s origin and later a chorus made up of the Gotham citizenry. Meanwhile, “Who’s the (Bat) Man” from Lego Batman is a brag-tacular song written by Batman about himself, even playing diegetically for all his villains to hear as he beats them up.

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Holy Musical opens on a quick recap of Batman’s origin:

“One shot, Two shots in the night and they’re gone And he’s all left alone He’s just one boy Two dead at his feet and their blood stains the street And there’s nothing, no there’s nothing he can do!”

We then get a Bat-dance break as the music goes from slow and moody to energetic to reflect Batman turning that tragedy into the driving force behind his one-man war on crime. Assured by the narrator that he’s “the baddest man that there’s ever been!” and “Now there’s nothing, no there’s nothing he can’t do!” flipping the last lyric of the first verse. For the rest of the opening scene the lyrics matter less than what’s happening to establish both this fan-parody’s version of Batman and how the people of Gotham (“he’ll never refuse ‘em”) view him.

Lego Batman skips the origin recap, and in general talks around the death of the Waynes to keep the light tone going since it’s still a kids movie about a popular toy even if there are deeper themes at play. Instead, it continues a trend The Lego Movie began for this version of the character writing music about how he’s an edgy, dark, awesome, cool guy. While that movie kept it to Batman angry-whiteboy-rapping about “Darkness! NO PARENTS!”, this one expands to more elaborate boasts in the song “Who’s the (Bat) Man” by Patrick Stump:

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“In the darkest night I make the bad guys fall There’s a million heroes But I’m the best of them all!”

Batman singing this song about himself, as opposed to having it sung by others aims the crosshairs of parody squarely on the hero’s ego. His abilities make fighting his villains effortless, like this opening battle is more an opportunity to perform the song than a life-or-death struggle. Even Joker’s aware of that as he shouts, “Stop him before he starts singing!” This Batman doesn’t see himself as missing out on anything in life, even if he still feels that deep down. Being Batman is the coolest thing in the world that anyone would envy. He’s Batman, therefore everyone should envy him.

The songs aren’t only part of the equation for how these two works’ opening scenes establish their leading hero. While both songs are about Batman being cool, they’re separated by the accompanying scenes. Lego Batman keep the opening within the Joker’s perspective until Batman shows up and the action kicks in. Once it does, we’re shown a Batman at the top of his solo-hero game. Meanwhile, Holy Musical’s opening is about B@man building his reputation and by the end of the song he has all the citizens of Gotham singing his praises with the titular lyrics. Both are about being in awe of the title hero, one framed by Joker’s frustration at Batman’s ease in foiling his schemes yet again and the other about the people of Gotham growing to love their city’s hero (probably against their better judgement.)

That’s woven into the fabric of what kind of schemes Batman is foiling in each of these. Joker’s plan to bomb Gotham with the help of every supervillain in Batman’s Rogues Gallery is hilariously high stakes and the type of plan most Batman stories, even parodies, would save for the climax. Neatly exemplified by how that’s almost the exact structure of Holy Musical’s final showdown. Starting with these stakes works as an extension of this Batman’s nature as a living children’s toy and therefore the embodiment of a child’s idea of what makes Batman cool, his ability to wipe the floor with anyone that gets in his way “because he’s Batman.” It also emphasizes Joker as the only member of the Rogues Gallery that matters to Lego Batman’s story, every other Bat-villain is either a purely visual cameo or only gets a couple lines maximum.

The crime’s being stopped by B@man are more in the “Year One” gangster/organized crime category rather than anything spectacle heavy. Though said crimes are comically exaggerated:

Gangster 1: Take these here drugs, put ‘em into them there guns, and then hand ‘em out to those gamblin’ prostitutes! Gangster 2: Should we really be doing these illegal activities? In a children’s hospital for orphans?

These fit into that model of crime the Dark Knight fights in his early days and add tiny humanizing moments between the crooks (“Oh, Matches! You make me laugh like nobody else!”) in turn making the arrival of B@man and the violence he deals out a stronger punchline. Further emphasized by the hero calling out the exact physical damage he does with each hit before warning them to never do crime again saying, “Support your families like the rest of us! Be born billionaires!” Later in the song his techniques get more extreme and violence more indiscriminate, as he uses his Bat-plane to patrol and gun down whoever he sees as a criminal, including a storeowner accidentally taking a single dollar from his own register. (“God’s not up here! Only Batman!”)

A commonality between these two openings is how Commissioner Jim Gordon gets portrayed. Both are hapless goofs at their core, playing more on the portrayal of the character in the 60s TV show and 90s Burton/Schumacher movies than the serious-minded character present in comics, Nolan’s Dark Knight Trilogy, and other adaptations. Lauren Lopez’s portrayal in Holy Musical gets overwhelmed by everything thrown at him, eventually giving up and getting out of B@man’s way (“I’m not gonna tell Batman what to do! He’s Batman!”) Hector Elizondo’s Gordon in Lego Batman clearly reached the “stay out of Batman’s way” point a long time ago, happy to have “the guy who flips on the Bat-signal” be his sole defining trait. While the characterizations are close, their roles do end up differing. Lopez’s Gordon sticks around to have a few more comedic scenes as the play goes on, where Elizondo’s exist to set up a contrast with his daughter Barbara and her way of approaching Batman when she becomes Police Commissioner.

These opening sequences both end in similar manners as well; the citizens of Gotham lavishing praise on their respective Batmen and a confrontation between Batman and the Joker. Praise from the citizenry in Holy Musical comes on the heels of a letter from B@man read out on the news about how much they and the city of Gotham suck. They praise B@man for his angsty nature as a “dark hero” and how they “wouldn’t want him any other way!”, establishing the motif of Gotham’s citizens in Holy Musical as stand-ins for the Batman fandom. Lego Batman uses the praise of the Gotham citizens after Batman’s victory in the opening scene as a lead in to contrast their certainty that Batman must have an exciting private life with the reality we’re shown. Which makes sense since Lego-Batman’s relationship to the people of Gotham is never presented as something at stake.

Greater contrast comes in how the confrontations with the Joker are handled, Lego Batman has an argument between the hero and villain that’s intentionally coded as relationship drama, Batman saying “There is no ‘us’” when Joker declares himself Batman’s greatest enemy. The confrontation in Holy Musical gets purposefully underplayed as an offstage encounter narrated to the audience as a Vicki Vale news report. This takes Joker off the board for the rest of the play in contrast to the Batman/Joker relationship drama that forms one of Lego Batman’s key pillars. While they take different forms, the respective citizenry praise and villain confrontation parts of these openings lead directly into the number one common thematic element between these Bat-parodies: Batman’s loneliness.

One is the Darkest, Saddest, Loneliest Number

Batman as an isolated hero forms one of the core tenants of the most popular understanding of the character. Each of these parodies picks at that beyond the broody posturing. There’s no dedicated segment in this piece about how these works’ versions of the title character function bleeds into every other aspect of them, but each starts from the idea of Batman as a man-child with trouble communicating his emotions. Time’s taken to give the audience a view of where their attitudes have left them early in the story.

Both heroes show their loneliness through interactions with their respective Alfreds. Holy Musical has the stalwart butler, played by Chris Allen, try to comfort B@man by asking if he has any friends he enjoys being around. When B@man cites Lucius Fox as a friend he calls him right away, only to discover Lucius Fox is Alfred’s true identity and Alfred Pennyworth was an elaborate ruse he came up with to protect Bruce on his father’s wishes. Ironically, finding out his closest friend was living a double life causes Bruce to push Alfred away (the play keeps referring to him as Alfred after this, so that’s what I’m going to do as well.) After he’s fired he immediately comes back in a new disguise as “O’Malley the Irish Butler” (same outfit he wore before but with a Party City Leprechaun hat.) That’s unfortunately the start of a running gag in Holy Musical that ends up at the worst joke in the play, when Alfred disguises himself as “Quon Li the Chinese Butler” doing an incredibly cringeworthy “substituting L’s for R’s” bit with his voice. It’s been my least favorite bit in the play since I first saw it in 2012 and legitimately makes me hesitate at times to recommend it. Even if it’s relatively small bit and the rest holds ups.

That disclaimer out of the way, that conversation between B@man and Alfred leads into the title hero reflecting on his sadness through the musical’s I Want Song, “Dark, Sad, Lonely Knight.” The song’s split into two halves, the first Alfred reflecting on whether he played a part in Bruce’s current condition and the second B@man longing for a connection. The song does a good job balancing between the sincerity over the hero’s sadness and getting good laughs out of it:

“Think of the children Next time you gun down the mama and papa Their only mama and papa Because they probably don’t have another mama and papa!”

The “I Want” portion of the song coming in the end with the repetition of the lryics “I want to be somebody’s buddy.”

Rather than another song number, Lego Batman covers Batman’s sadness through a pair of montages and visual humor. The first comes after the opening battle, where we see Batman taking off all his costume except for the mask hanging out alone in Wayne Manor, showing how little separation he puts between identities. Compared to Holy Musical where the equivalent scene is the first we see of Bruce without the mask on, which may come down to practicality since anyone who’s worn a mask like that knows they get hot and sweaty fast. Batman is constantly made to appear small among the giant empty rooms of his estate as he eats dinner, jams on his guitar, and watches romantic movies alone.

Ralph Fienne’s Alfred coming in at the end of this sequence witnessing Batman looking at a photo of himself as a boy with his parents for the last time. Alfred outlines Batman’s fear of being part of a family again only to be met with Batman denying he has any feelings ever. Pennyworth’s role as a surrogate father gets put into greater focus here than in Holy Musical, as we get glimpses of Alfred reading a book titled “How to Deal with Your Out-of-Control Child.” Also shown in smaller scenes of Alfred dealing with Batman’s insistent terminology for his crime fighting equipment, like calling his cowl an “armored face disguise.”

Batman’s denial of his pain contrasts how B@man wallows in it. Though he’s forced to confront it a little as the Joker’s plan ends up leaving him with no crimefighting to fall back on to ignore his issues. This montage gets set to the song “One” by Harry Nilsson and details Batman, unable to express his true feelings, eventually letting them out in the form of tempter tantrums. There’s also some humor through juxtaposition as Batman walks solemnly through the streets of Gotham City, rendered black and white, as the citizens chant “No more crime!” in celebration, while flipping over cars and firing guns into the air.

A disruption to their loneliness eventually comes in the form of a sensational character find.

Robin – The Son/BFF Wonder

Between both Bat-parodies, the two Robins’ characterizations are as close as anyone’s between them. Each is nominally Dick Grayson but are ultimately more representative of the idea of Robin as the original superhero sidekick and his influence on Batman’s life. The play and movie also both make the obvious jokes about Dick’s name and the classic Robin costume’s lack of pants at different points. Dick’s origin also gets sidestepped in each version to skip ahead to the part where he starts being an influence in Batman’s life.

Robin’s introduction to the comics in Detective Comics #38 in 1940, marking the start of Batman’s literal “Year Two” as a character, predating the introduction of Joker, Catwoman, and Alfred, among others. Making him Batman’s longest lasting ally in the character’s history. His presence and acrobatics shift the tone by adding a dash of swashbuckling to Batman’s adventures, inspired by the character’s namesake Robin Hood, though both parodies take a page out of Batman Forever and associate the name with the bird for the sake of a joke. Robin is as core to Batman as his origin, but more self-serious adaptations (i.e., the mainstream cinematic ones that were happening around the times both Holy Musical and Lego Batman came out) tend to avoid the character’s inclusion. These two works being parody, therefore anything but self-serious, give themselves permission to examine why Robin matters and how different characters react to his presence. Rejection of Robin as a character and concept comes out in some form in each of these works, from Batman himself in Lego Batman and the Gotham citizens in Holy Musical.

The chain of events that lead to Dick becoming Robin in Lego Batman are a string of consequences for Batman’s self-absorption. A scene of Bruce barely listening as Dick asks for advice on getting adopted escalating to absentmindedly signing the adoption paperwork. Batman doesn’t realize he has a son until after his sadness montage. Alfred forces Batman to start interacting with Dick against his will. The broody loner wanting nothing to do with the cheery kid, played to “golly gee gosh” perfection by Michael Cera, until he sees the utility of him. Batman doesn’t even have the idea to give Robin a costume or codename because he clearly views the sidekick’s presence as a temporary measure for breaking into Superman’s fortress, made clear by how he lists “expendable” as a quality Dick needs if he wants to go on a mission.

This makes Robin the catalyst for Batman’s shifting perspective throughout Lego Batman. When Robin succeeds in his first mission, the Dark Knight is hesitant to truly compliment him and chalks up his ward’s feats to “unbelievable obeying.” Other moments have Robin’s presence poke holes in Batman’s tough guy demeanor, like the first time Batman and Robin ride in the Bat-mobile together, Robin asks where the seatbelts are and Batman growls “Life doesn’t give you seatbelts!”, only for Batman to make a sudden stop causing Robin to hit his head on the windshield and Batman genuinely apologizes. They share more genuine moments together as the film goes, like Batman suggesting they beatbox together to keeps their spirits up after they’ve been imprisoned for breaking into Arkham Asylum. Robin’s representative of Batman gradually letting people in throughout these moments.

On the exact opposite end of the spectrum, B@man needs zero extra prompting to let Robin into his life. Nick Lang’s Robin (henceforth called “Rob!n” to keep with this arbitrary naming scheme I’ve concocted) does get brought into his life by Alfred thanks to a personal ad (“‘Dog for sale’? No… ‘Orphan for sale’! Even better!”) but it’s a short path to B@man deciding to let Dick fight alongside him. The briefest hesitance on the hero’s part, “To be Batman… is to be alone”, is quelled by Rob!n saying “We could be alone… together.” Their first scene together quickly establishing the absurd sincerity exemplified by this incarnation of the Dynamic Duo. An energy carried directly into the Act 1 closing number, “The Dynamic Duet”, a joyful ode between the heroes about how they’re “Long lost brothers who found each other” sung as they beat up supervillains (and the occasional random civilian.)

That song also ties into the contrast between the Batman/Robin dynamic and the B@man/Rob!n one. While Holy Musical is portraying a brotherly/BFF bond between the two heroes, Lego Batman leans into the surrogate son angle. While both are mainly about their stories’ Batman being able to connect with others, the son angle of Lego Batman adds an additional layer of “Batman needs to take responsibility for himself and others” and a parallel to Alfred as Batman’s own surrogate father. It also adds to the queer-coding of Batman in Lego Batman as Batman’s excuse to Robin for why he can go on missions is that Bruce and he are sharing custody, Robin even calling Batman’s dual identities “dads” before he knows the truth.

In the absence of the accepting personal responsibility through fatherhood element, the conflict Rob!n brings out in Holy Musical forms between B@man and the citizens of Gotham. “Citizens as stand-ins for fandom” is at it’s clearest here as the Act 2 opener is called “Robin Sucks!” featuring the citizens singing about how… well, you read the title. Their objections to Rob!n’s existence has nothing to do with what the young hero has done or failed to do, but come from arguments purely about the aesthetic of Rob!n fighting alongside B@man. Most blatantly shown by one of the citizens wearing a Heath Ledger Joker t-shirt saying Rob!n’s presence “ruins the gritty realism of a man who fights crime dressed as a bat.” It works as the Act 2 opener by establishing that B@man and the citizens conflicting opinions on his sidekick end up driving that half of the story, exemplified in B@man’s complete confusion about why people hate Rob!n (“Robin ruined Batman? But that’s not true… Robin make Batman happy.”)

Both Robins play into the internal conflict their respective mentors are going through, but what would a superhero story, even a parody, be without some colorful characters to provide that sweet external conflict.

Going Rogue

Both works have the threat comes from an army of villains assembled under a ringleader, Zach Galifianakis’s Joker in Lego Batman and Jeff Blim as Sweet Tooth in Holy Musical. Both lead the full ensemble of Batman’s classic (and not so classic) Rogues at different points. As mentioned before Joker starts Lego Batman with “assemble the Rogues, blow up Gotham” as his plan, while Sweet Tooth with his candy prop comedy becoming the ringleader of Gotham’s villains is a key turning point in Act 1 of the play. Part of this comes down to how their connections to their respective heroes and environments are framed, Sweet Tooth as a new player on the scene and Joker as Batman’s romantic foil.

Lego Batman demonstrates Batman and Joker are on “finishing each other’s sentences” levels of intimate that Batman refuses to acknowledge. Shown best in how Joker’s plan only works because he can predict exactly how Batman will act once he starts playing hard to get. When he surrenders the entire Rogues Gallery (without telling them) and himself to police custody, he describes it as him being “off the market.” He knows Batman won’t settle for things ending on these terms and tricks the hero into stealing Superman’s Phantom Zone projector so he can recruit a new, better team of villains for a take two of his masterplan from the start. Going through all this trouble to get Batman to say those three magic words; “I love hate you.” Joker as the significant other wanting his partner to finally reciprocate his feelings and commit works both as a play on how the Batman/Joker relationship often gets approached and an extension of the central theme. Batman is so closed off to interpersonal connections he can’t even properly hate his villains.

Sweet Tooth, while clearly being a riff Heath Ledger and Caesar Romero’s Jokers fused with a dash of Willy Wonka, doesn’t have that kind of connection with B@man. Though there are hints that B@man and his recently deceased Joker may have had one on that level. He laments “[Joker]’s in heaven with mom and dad. Making them laugh, I know it!” when recalling how the Clown Prince of Crime was the one person he enjoyed being around. This makes Joker’s death one of the key triggers to B@man reflecting on his solitude at the start of the play.

What Sweet Tooth provides the story is a threat to B@man’s new bond with Rob!n. Disrupting that connection forms the delicious center of the Candy King of Crime’s plan in Act 2. He holds Rob!n and Gotham’s people hostage and asks the citizens to decide via Facebook poll if the sidekick lives or dies (in reference to the infamous phone hotline vote from the comic book story A Death in the Family where readers could decide the Jason Todd Robin’s fate.)

With the rest of the villains under the leadership of the respective works’ main antagonists, there’s commentary on their perceived quality as threats. When Holy Musical has Superman talking to Green Lantern about how much B@man’s popularity frustrates him, he comes down especially hard on the Caped Crusader’s villains. Talking about how they all coast by on simple gimmicks with especially harsh attention given to Two Face’s being “the number two.” Saying they’re only famous because B@man screws up and they get to do more damage. Which he compares to his own relationship with his villains:

Superman: You ever heard of Mr. Mxyzptlk? Green Lantern: No. Superman: No, that’s right! That’s because I do my job!

Lego Batman has commentary on the other villains come from Joker, recognizing that even all together they can never beat Batman, because that’s how a Batman story goes. The other villains get portrayed as generally buffoonish, struggling to even build a couch together and described by Joker as “losers dressed in cosplay.” Tricking Batman into sending him to the Phantom Zone provides him the opportunity to gather villains from outside Batman’s mythos and outside DC Comics in general. Recruiting the likes of Sauron, King Kong, Daleks, Agent Smith from The Matrix, and the Wicked Witch of the West, among others. When I first saw and reviewed The Lego Batman Movie, this bugged me because it felt like a missed opportunity to feature lesser-known villains from other DC heroes’ Rogues Galleries. Now, considering the whole movie as meta-commentary on the status of this Batman as a children’s toy, it makes perfect sense that Joker would need to go outside of comics to break the rules of a typical Batman story and have a shot at winning.

The Rogues of Holy Musical get slightly more of a chance to shine, if only because their song “Rogues are We” is one of the catchier tracks from the play. They’re all still more cameo than character when all’s said and done, but Sweet Tooth entering the picture is about him recognizing their potential to operate as a unit, takeover Gotham, and kill B@man. The candy-pun flinging villain wants all of them together, no matter their perceived quality.

Sweet Tooth: “We need every villain in Gotham. Cool themes, lame themes, themes that don’t match their powers, even the villains that take their names from public domain stories.” (Two Face’s “broke ass” still being the exception.)

Both Joker and Sweet Tooth provide extensions of the shared theme of Batman dealing with the new connections in his life, especially with regards to Robin. However, Robin isn’t the only other ally (or potential ally) these Dark Knights have on their side.

Super Friends(?)

The internal crisis of these Caped Crusaders come as much from how they react to other heroic figures as it does from supervillainous machinations. In both cases how Batman views and is viewed by fellow heroes gets centered on a specific figure, Superman in Holy Musical and Commissioner Barbara Gordon (later Batgirl) in Lego Batman. Each serves a vastly different purpose in the larger picture of their stories and relationship to their respective Batmen. Superman reflecting B@man’s loneliness and Barbara symbolizing a new path forward for Batman’s hero work.

Superman’s role in Holy Musical runs more parallel to Lego Batman’s Joker than Barbara. Brian Holden’s performance as the Man of Tomorrow plays into a projected confidence covering anxiety that nobody likes him. Besting the Bat-plane in a race during B@man’s Key to the City ceremony establishes a one upmanship between the two heroes, like Joker’s description of his relationship with Batman at the end of Lego Batman’s opening battle. Though instead of that romantically coded relationship from Lego Batman, this relationship is more connected to childish jealousy. (But if you do want to read the former into Holy Musical B@man, neither hero has an onstage relationship with any woman and part of their eventual fight consist of spanking each other.)

B@man and Superman’s first real interaction is arguing over who’s the cooler hero until it degrades into yelling “Fuck you!” at each other. B@man storming off in the aftermath of that gets topped off by Superman suggesting he should get the Key to the City instead, citing his strength and longer tenure as a hero (“The first hero, by the way”) as justifications. This only results in the Gotham citizens turning on him for suggesting their city’s hero is anything less than the best, which serves both as a Sam Raimi Spider-Man reference (“You mess with one of us! You mess with all of us!”) and another example of the citizens as stand-ins for fandom. Superman’s veil of cocksureness comes off quickly after that and stays off for the rest of the play. Starting with his conversation with Green Lantern where a civilian comes across them, but barely acts like Superman’s there.

One of the play’s running gags is Superman calling B@man’s number and leaving messages, showing a desperation to reach out and connect with his fellow hero despite initial smugness. Even before the first phone call scene, we see Superman joining B@man to sing “I want to be somebody’s buddy” during “Dark, Sad, Lonely Knight” hinting at what’s to come. The note it consistently comes back to is that Superman’s jealousy stems from Batman’s popularity over him. This is a complete flip of what Lego Batman does with the glimpse at a Batman/Superman dynamic we see when Batman goes to the Superman’s fortress to steal the Phantom Zone projector. The rivalry dynamic there exists solely in Batman’s head, Lego-Superman quickly saying “I would crush you” when Batman suggests the idea of them fighting. Superman’s status among the other DC heroes is also night and day between these works. Where Lego-Superman’s only scene in the movie shows him hosting the Justice League Anniversary Party and explaining he “forgot” to invite Batman, Superman in Holy Musical consistently lies about having friends over (“All night long I’m busy partying with my friends at the Fortress… of Solitude.”)

Superman’s relationship to B@man in Holy Musical develops into larger antagonism thanks to lack of communication with B@man brushing off Supes’ invitations to hang out and fight bad guys (“Where were you for the Solomon Grundy thing? Ended up smaller than I thought, just a couple of cool guys. Me and… Solomon Grundy.”) His own loneliness gets put into stronger focus when he sees the news of Rob!n’s debut as a crimefighter, which makes him reflect on how he misses having Krypto the Super-Dog around. (The explanation for why he doesn’t have his dog anymore is one of my favorite jokes in the play and I won’t ruin it here.)

Where Superman’s a reflection of B@man’s loneliness, Rosario Dawson as Barbara in Lego Batman is a confrontation of Batman’s go it alone attitude. Her job in the story is to be the one poking holes in the foundation of Batman as an idea, starting with her speech at Jim Gordon’s retirement banquet and her instatement as commissioner. She has a by-the-book outlook on crimefighting with the omnicompetence to back it up, thanks to her training at “Harvard for Police.” Babs sees Batman’s current way of operating as ineffectual and wants him to be an official agent of the law. An idea that dumps a bucket of cold water on Batman’s crush he developed immediately upon seeing her, though that never fully goes away.

Her main point is that Batman “karate chopping poor people” hasn’t made Gotham better in his 80 years of operating. A contrast to Holy Musical’s Jim Gordon announcing that B@man has brought Gotham’s crime rates to an all-time low (“Still the highest in the world, but we’re working on it.”) She wants to see a Batman willing to work with other people. A hope dashed constantly dealing with his childish stubbornness as he tries to foil Joker’s schemes on his own, culminating in her arresting Batman and Robin for breaking into Arkham to send Joker to the Phantom Zone.

Barbara’s role as the one bringing grown-up attitudes and reality into Batman’s world does leave her in the role of comedic straight woman. Humor in her scenes comes from how she reacts to everyone else’s absurdity rather than anything she does to be funny. This works for the role she plays in Lego Batman, since she’s not there to have an arc the way Superman does in Holy Musical. She’s another catalyst for Batman’s to start letting people in as another character he grows to care about. Which starts after she lets the Dynamic Duo out of prison to fight Joker’s new army of Phantom Zone villains on the condition that he plays it by her rules. Leading to a stronger bond between Batman, Robin, Alfred, and her as they start working together.

The two Batmen’s relationships to other heroes, their villains, Robin, and their own solitude each culminate in their own way as their stories reach their conclusions.

Dark Knights & Dawning Realizations

As everything comes down to the final showdowns in these Bat-parodies, the two Caped Crusaders each confront their failures to be there for others and allow themselves to be vulnerable to someone they’ve been antagonizing throughout the story. Each climax has all of Gotham threatened by a bomb and the main villains’ plans coming to fruition only to come undone.

Holy Musical has Sweet Tooth’s kidnapping of Rob!n and forcing Gotham to choose themselves or the sidekick they hate sends B@man into his most exaggerated state in the entire play. It’s the classic superhero movie climax conundrum, duty as a hero versus personal attachment. Alfred, having revealed himself as the “other butlers”, even lampshades how these stories usually go only for that possibility to get shot down by Bruce:

Alfred: A true hero, Master Wayne, finds a way to choose both. B@man: You’re right, Alfred. I know what I have to do… Fuck Gotham, I’m saving Robin!

B@man’s selfishness effectively makes him the real villain of Holy Musical’s second act. Lego Batman has shades of that aspect as well, where Batman gets sent to the Phantom Zone by Joker for his repeated refusal to acknowledge their relationship. Where the AI running the interdimensional prison, Phyllis voiced by Ellie Kemper, confronts him with the way he’s treated Robin, Alfred, Barbara, and even Joker:

Phyllis: You’re not a traditional bad guy, but you’re not exactly a good guy either. You even abandoned your friends. Batman: No! I was trying to protect them! Phyllis: By pushing them away? Batman: Well… yeah. Phyllis: Are they really the ones you’re protecting?

Batman watches what’s happening back in Gotham and sees Robin emulate his grim and gritty tendencies to save the day in his absence makes him desperately scream, “Don’t do what I would do!” It’s the universe rubbing what a jerk he’s been in his face. He’s forced to take a look at himself and make a change. B@man’s not made to do that kind of self-reflection until after he’s defeated Sweet Tooth but failed to stop the villain’s bomb. He’s ready to give up on Gotham forever and leave with Rob!n, until his sidekick pulls up Sweet Tooth’s poll and it shows the unanimous result in favor of saving the Boy Wonder. Despite everything they said at the start of Act 2, the people want to help their hero in return for all the times he helped them. All of them calling back to the Raimi Spider-Man reference from Act 1, “You mess with one of us. You mess with all of us.”

Both heroes’ chance at redemption and self-improvement comes from opening themselves up to the people they pushed out and dismissed earlier in their stories. Batman takes on the role he reduced the Commissioner down to at the beginning of the movie and flips on signals for Barbara, Alfred, and Robin to show how he’s truly prepared to work as a team, not just with his friends and family but with the villains of Gotham the Joker pushed aside as well. Teamwork makes the dream work and they’re all able to work together to get Joker’s army back into the Phantom Zone but like in Holy Musical they fail to stop the bomb threatening Gotham. Which he can only prevent from destroying the city by confessing his true feeling to Joker

Batman: If it wasn’t for you, I wouldn’t have learned how connected I am with all of these people and you. So, if you help me save Gotham, you’ll help me save us. Joker: You just said “us?” Batman: Yeah, Batman and the Joker. So, what do you say? Joker: You had me at “shut up!”

The equivalent moment from Holy Musical comes from B@man needing to put aside his pride and encourage a disheartened Superman to save Gotham for him. This happens in the aftermath of a fight the two heroes had where Superman tried to stop B@man before he faced Sweet Tooth, B@man winning out through use of kryptonite. That fight doesn’t fit into any direct parallel with Lego Batman, but it is important context for how Superman’s feeling about B@man before Superman finally gets his long-awaited phone call from the Dark Knight. Also, the song accompanying the fight, “To Be a Man”, is one of the funniest scenes in the play. What this speech from B@man does is bring the idea of Holy Musical B@man as a commentary on fandom full circle:

B@man: I forgot what it means to be a superhero. But we’re really not that different, you and me, at our heart. I mean really all superheroes are pretty much the same… Something bad happened to us once when we were young, so we dedicated our whole lives to doing a little bit of good. That’s why we got into this crazy superhero business. Not to be the most popular, or even the most powerful. Because if that were the case, hell, you’d have the rest of us put out of a job!

This speech extends into an exchange between the heroes about how superheroes are cool, not despite anything superficially silly but because of it. Bringing it back to the “Robin Sucks!” theme that started Act 2, saying “Some people think Robin is stupid. But those people are pretentious douchebags. Because, literally, the only difference between Robin and me is our costumes.” The speech culminates in what I genuinely think is one of the best Batman lines ever written, as B@man’s final plea to Superman is “Where’s that man who’s faster than a gun?” calling back to the trauma that created Batman across all versions and what he can see in someone like Superman. So, B@man sacrificing his pride and fully trusting in another hero saves Gotham, the way Batman letting Joker know what their relationship means to him did in Lego Batman.

Each of these parodies ends by delivering a Batman willing to open himself up to a new team of heroes fighting at his side, the newly minted Bat-Family in Lego Batman and the league for justice known as the Super Friends in Holy Musical. Putting them side by side like this shows how creators don’t need the resources of a Hollywood studio to make something exactly as meaningful and how the best parodies come from love of the material no matter who’s behind them.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

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veliseraptor · 3 years ago

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got tagged for two fic writer memes yesterday! the one from @ameliarating first:

How many works do you have on AO3?

509.

What’s your total AO3 word count?

3,432,24. dang! that’s a lot of words

How many fandoms have you written for and what are they?

I have written for...counting the MCU as one fandom, on AO3 I have written for 32 fandoms, including at least one work in:

MCU, The Sillmarillion, Caliban Leandros, both DC and Marvel Comics, the book Barebacked by Kit Whitfield, Doctrine of Labyrinths, Doctor Who, Buffy the Vampire Slayer, Star Wars, Black Jewels, Dragon Age, Lucifer, Dexter, Temeraire, Gentleman Bastard Sequence, Supernatural, A Song of Ice and Fire, Greek Mythology, Lymond Chronicles, Merlin BBC, Code Geass, Good Omens, Death Note, and White Collar.

this is not a comprehensive list of every fandom I’ve ever written for, because it is not including ones that live only on FFN or Livejournal.

What are your top 5 fics by kudos?

Life In Reverse tops the list (11066), aka my 200k Loki-centric post-Thor AU fic that I wrote between 2012 and 2018 and with which I have a decidedly complex relationship at this point. I love it but also I no longer think it’s my best work but also I credit it with teaching me a fuck of a lot about writing and writing longer projects in general.

With Absolute Splendor is rapidly catching up, to my astonishment (6559), despite having been posted for less than half as long. Aka the wedding planning fic that’s really just me mucking about in my Jiang Cheng and my Jiang Cheng and Wei Wuxian feelings, at length.

some good mistakes (4618) was my first foray into the Untamed version of “characters who hate each other going on resentful roadtrips together, feat. Lan Wangji and Jiang Cheng.” I have gone on to write others and will continue to write more.

Unraveling (3069) is a little bit of a surprise but also not - it was originally just sort of WWP stuff for my ‘what if people remembered that blunt force trauma is a really bad thing actually’ problem that pops up sometimes, re: Loki at the end of The Avengers, and then it kind of turned into a whole thing. I personally think it’s the weakest of the installments of the series it belongs to, but it is the first one and also the one that gets least into the broader family dysfunction and depression stuff that probably is less everyone’s thing (but is what came out this fic that mattered more to me, personally).

I am a little surprised to see Steve Rogers’ Halfway House for Notorious Supervillains (3068) here too! I was expecting one of the more...idk, mainstream concepts from the MCU to win out? But I also wasn’t expecting two Untamed fics to make it here, either. But I am stupid proud of this fic even if it is very extraordinarily unfinished. This is one of those unfinished fics that will nag at me unless and until I finish it, at least a little, because the concept - if I do say so myself - is so goddamn good and I think I was executing it pretty well, too.

Do you respond to comments, why or why not?

Pretty much never. I was never very good at it and now I’d feel like I had to go back and reply to all of them and I just. I can’t do that. and when I do try to just start at the beginning I get overwhelmed very fast and start avoiding it.

Basically I decided that if it’s a decision between wrestling with myself to reply to comments versus actually doing more writing I’m going to end up landing on the latter as feeling both more doable and more productive.

What’s the fic you’ve written with the angstiest ending?

probably it’s The Worlds Forgotten, the Words Forbidden for sheer level of “so then what was the point” of it all. but like. I’ve definitely written a few extraordinarily miserable fics, and by “a few” I kind of mean “a lot.” Other nominees I’d put down might be nor autumn falter (for currently personally making me suffer most), once there was a way to get back home (for I think having the ouchiest summary), and Waiting for the Summer Rain (which remains one of my personal favorite Supernatural fics I wrote).

but like. there are 43 fics I have marked with Major Character Death warnings and every single one of those, pretty much, has a downer ending.

Do you write crossovers? If so, what is the craziest one you’ve written?

I have written several though not in a long time! My craziest probably remains the Morgoth/Cthulhu short I wrote that actually got sporked because someone took it seriously (???) enough to do that. But the craziest that actually has any merit, (I’d argue) is probably the Maeglin/Viserys one.

not linking to either, if you want to go find them I don’t think it’ll be that hard.

Have you ever received hate on a fic?

Yeah, a few times on a few different things. More if you count “people who seem to like the fic but love telling you how much they hate the female characters you’re writing about in it” as ‘hate’ which I would but isn’t, you know, quite as straightforward. If I had a nickel for every time someone bitched about Jane in Life in Reverse, though...lots of nickels.

Do you write smut? if so what kind?

Sure do! But what does ‘what kind’ mean, I don’t know how to answer that question. I feel tempted to just put in my “Mike’s Hard Kinks” image edit in this space.

I guess usually I tend to write smut that at least involves a little bit of a kink? I don’t think I’d feel comfortable writing entirely kinkless smut. I think I’d feel weird about it, the same way I do when I write really nice fic, generally.

Have you ever had a fic stolen?

I think I did back when but I don’t remember anything about it. I feel like it was one of those mass data scraping things where my fic happened to be among those caught up in it.

Have you ever had a fic translated?

I have! several actually, mostly into Russian and Chinese. every time it happens I’m immensely flattered that someone wants to put in that kind of work on something I wrote.

Have you ever co-written a fic before?

I think I’d be very, very bad at it.

What’s your all time favorite ship?

Depends on when you ask me! I could probably give you a top five but then I’d remember six that I forgot to mention five minutes later. I guess if I were to think about ships that feel like they hold very special particular places in my heart... Xue Yang/Xiao Xingchen, Steve Rogers/Loki, and Min/Rand come to mind.

What’s a WIP that you want to finish but don’t think you ever will?

oh god do you want the whole list cause honestly I could just like. screencap the entirety of my “in progress” folder with a crying emoji watermarked over it. and that’s not getting into the fics that are like...half formed babies in my consciousness but not anywhere on paper.

and also I just hate to admit that I might not finish something.

you know what? the Lucifer/Good Omens crossover I started would’ve been a lot of fun. I’m probably never going to finish it, but it would’ve been great if I had. I know other people did it too but my contribution could’ve been amazing.

I can say this very boldly with the near certainty that I’m not going to finish the fic so no one will be able to disagree.

(...also the Last Herald-Mage fix it. that was going to be a good fic too, and also will probably languish unfinished forever.)

What are your writing strengths?

I’m pretty sure dialogue is my strongest point. Dialogue and emotions, which is why I always end up just wanting to write about characters talking and having feelings at each other.

What are your writing weaknesses?

Writing action sequences throws me into conniptions every time I have to do it and I will take drastic actions sometimes to avoid doing it at all, which probably weakens the work as a whole.

Also, I don’t plan ahead and this means I write myself into corners kind of a lot. If I wasn’t writing long, dense fic it wouldn’t be a problem but here we are.

What are your thoughts on writing dialogue in other languages in a fic?

I tend to avoid it unless it’s in the context of, as in CQL/MDZS fic, leaving certain terminology untranslated. I’m pretty sure I almost never write full exchanges of dialogue in a different language than I’m using for the narration within a fic, and generally speaking my reaction to other people doing it is at least mildly negative.

What was the first fandom you wrote for?

Harry Potter was technically the first fandom I wrote for, but it was a crack fic I wrote to make my friends laugh more than anything; I tend to count Wheel of Time as my first actual fandom for which I wrote my first actual fic.

What’s your favorite fic you’ve written?

some days the answer is “all of them” and some day the answer is “I don’t like anything I’ve written in my entire life” and I never like giving this a definitive answer. yesterday I reread efforts in a common cause (the bound copy!! thanks @spockandawe) and you know what, that was a good fic and I’m proud of it, so I’m going with that one, for this meme, today.

tagging: @mostfacinorous, @jaggedcliffs, @silvysartfulness, @mikkeneko, @kasasagi-eye, @curiosity-killed, how many people am I supposed to tag for this one anyway

#lise memes #confessions of a frustrated writer

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romancomicsblog · 1 year ago

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Who should play Lex Luthor in the DCU?

With the DCU casting its red caped hero last month as David Corenswet in Superman Legacy, the Man of Steel's archenemy feels just around the corner.

While nothing is confirmed, names like Nicholas Hoult, Alexander Skarsgard, and Bill Skarsgard have been rumored for the role.

While I have no problem with any of these actors or these Luthors, I feel we can do better.

So before James Gunn throws out a name that will likely break the internet, I thought I'd pitch my three ideas for The DCU's Lex Luthor. Unlike my last fancast (shameless plug for My Flash Fancast Article), I have one actor who I think truly stands beyond the rest.

But first, as always, let's answer a few questions:

What performances are we looking to emulate?

Much like the Man of Steel himself, Luthor has a number of appearances across DC media, including animation, film, and live action television. So unlike my Flash article, I will not be going through all of them, even the main ones.

While I don't think any performance has been perfect, I think there are several we can draw from to create a better Lex.

I'm going to try to remain positive and only look at performances I appreciate, so instead of dunking on Jesse Eisenberg for 45 minutes, I'll just say quickly: He's doing a real good Mad Hatter in Batman vs Superman.

1. Michael Rosenbaum - Smallville

There's a lot to love from this one.

Unlike most iterations of Luthor in media, Rosenbaum begins the series an ally to Clark, even a friend. Luthor is confident, smart, but has a likeability to him I think we have lost in more recent interpretations. All those aspects should be brought over to the DCU.

We need someone who you could believe the city loves almost as much as Superman.

Rosenbaum also had a physical presence and voice to beat. He projected strength, and felt like someone who could throw hands if he needed to.

Finally, his anger and rage were bubbling just beneath all that. He could snap at a moment's notice, and in those moments is where you see the villain. That's what I want from my Lex, someone who mastered masking his demons.

2. Clancy Brown - Superman the Animated Series, Justice League & Justice League Unlimited

If it wasn't for Rosenbaum, this would be my definitive Lex Luthor.

Clancy Brown has never misunderstood the assignment, as he plays a much more aggressive and fiercer Luthor in the DCAU.

What I love about this Luthor is his ability to become a bigger threat from season to season. Making deals with Darkseid, giving speeches to Amazo, and even fusing with Brainiac, this Luthor could hang and outsmart the best of them.

While he was a little quick to anger in my opinion, this Luthor had that same strength and confidence I absolutely love in Rosenbaum.

Something inbetween these two may make the perfect Luthor.

3. Jon Cryer - Arrowverse

While there is a huge gap between two and three, I think there is a lot to love about Cryer.

While he is harder to take seriously than the other two, he does show off one thing the others don't, the fun of being the richest, smartest person in the room.

Cryer always felt like Luthor was having fun toying with heroes. Only when he dealt with the Girl of Steel did he really go off the rails.

Do I want a performance as hammy or out there as Cryer? Not necessarily, but someone who can do a little comedy may be fun here.

What ethnicity is Lex Luthor?

This one doesn't have a definitive answer.

While in most iterations of the character he appears to be white, in Justice League/Justice League Unlimited, some fans speculate he is a person of color, specifically black.

I have mixed feelings on changing a villain into a person of color, as that can have its own implications, especially when their hero wears Red and Blue.

I do think leaving Lex Luthor as an only white character can take away from the depiction. Luthor sometimes is a self made man, and making him a person of color who clawed his way through oppression only to be seconded by another white man could be an interesting take.

Again my feelings are mixed, but for now I'm going to say either way works.

Any other stipulations?

Yes, a few.

For one, I will not bring back an actor who played him before, so I'm sorry Rosenbaum fans, maybe next time.

My Luthor will be either A) a friend to Superman of the same age or B) a mentor like figure, still a friend though, at least for the first movie. So age range is anywhere between 30-50.

Unlike Superman, Luthor's are usually played by actors with a name. Jesse Eisenberg and Gene Hackman both are heavy hitters, so I will be looking for actors of similar caliber.

I also don't want to go with actors who have been or are known for different superhero roles. That doesn't mean they can't have ever been in a superhero movie (hint hint) but we're not getting Downey Jr.

If they are bald that is a plus, but not necessary.

Again I think these picks all can do it, but I really love my number 1 pick.

3. Jason Bateman

This one will probably take the most convincing but think about it.

Known for his wide ranging work such as Ozark, Arrested Development, Game Night & Air, Bateman is a comedic and dramatic force.

At 54, Bateman is my oldest Luthor, but I think he can emulate better than anyone else on this list the fun of Cryer.

I have a few problems with this casting. While he has a great calming voice, I don't know if it's Luthor. It can be sinister, and it can be friendly, but I don't know how confident it can be.

My other main problem is this Luthor doesn't seem like he can fight. I think this Luthor would feel more like someone who needs the mech suit.

Overall I think this is a fun cast and would be a little unexpected, and a challenge for Bateman. But one I think he could nail.

2. John David Washington

If we want a cool, strong, and same age Luthor to befriend Superman, I think John David Washington slides into this very well. At 38, Washington still looks like a passable 30.

Known for his roles in Tenet and Malcolm and Marie, Washington I think is our best bet at emulating Rosenbaum. The swagger, the look, and the dangerous presence bubbling beneath the surface.

My main problem with casting Washington is always the same, does he fit better elsewhere?

Washington is such a versatile actor, he sometimes feels like a blank slate. Would he better suited for Cyclops? Green Lantern? An older Firestorm? Who is to say.

In any case, I'm sure he'll be casted in one of these sooner or later, but Luthor may be an example of right place, right time for Washington.

1. Sterling K. Brown

Several years ago, I saw an episode of Brooklyn 99, which to this day is my favorite episode, where Jake Peralta and Captain Holt try their absolute best to get this killer to admit his crime or slip up.

He is so intelligent, suave, and calm, that they are unable to break him, until they hit the right nerve, and the bubbling anger boils so hot, he admits everything.

That is Lex Luthor.

And that is Sterling K Brown.

Known for hit shows like This is Us, The People vs OJ Simpson, the Marvelous Mrs. Maisel, and movies like Black Panther and Waves, Sterling K Brown may be the most underrated actor working today.

Brown has an intensity about him that screams Luthor. He can play likeable and caring like Rosenbaum, he can reach that rage and intensity that Clancy Brown nailed, and have the fun of Jon Cryer.

Brown also has a kindness that reads extremely genuine. You'd get the sense in another world, this Luthor would be a hero.

At 47, he's old enough to be a mentor to Clark, but still feel formidable, especially with his current physical build.

Brown's Luthor I can see as a staple character for the DCU, appearing as an overarching puppet master, leader of villainous teams, tormentor of many heroes, or even uneasy ally when greater threats emerge.

No matter where they take Luthor as a character, Sterling K. Brown is the right pick to menace the DC Universe for years to come.

Thank you for reading! Let me know who you'd like me to fancast next for Marvel or DC!

If you'd like to support me you can follow me on my socials here!

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mattzerella-sticks · 3 years ago

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How I’d Fix Titans on HBO Max

So this is just a little post to release some pent-up steam about the Titans show because this is the third season, and this is the third time I’ve let myself be bamboozled into thinking I’d enjoy the major storyline. And I’ve got a lot of thoughts since the first season about things I’d’ve done differently if I were given creative control of the show.

DISCLAIMER: I’ll only be plotting out the season story beats, as this is what I believe is the worst crime of the show. I think the casting is fine, even if a few wouldn’t be my first choice (*cough* Iain Glen as Bruce Wayne *cough*). My only note for set design is BETTER LIGHTING. I’m not the most well-versed in cinematography; I do think they’ve improved over the seasons, but pinpointing all the little details will take too much time and that’s not what this is focused on.

Starting with SEASON 1:

Trigon should not have been our s1 big bad. The audience for Titans will mostly be made up of people who probably were introduced to comics and these characters from shows like Justice League and Teen Titans, the latter of which already handled the Trigon storyline very well with most of the heroes Titans decided to use. Besides that, the SFX for Trigon alone would - despite the massive budget HBO Max allowed for projects like this - ultimately disappoint (and we were... at least I was). It’s not like animation or comics where the depiction of the battle between a massive demon and a team of superheroes would be better resolved. Exploring Raven’s powers and origins, however, was the right choice for season 1 since - in George Perez’s Titans - Raven was the one who assembled them together. Yes, this was to battle Trigon in the end... but it doesn’t have to be that way.

The season 1 threat should have been Sebastian Blood and his cult. It seemed like they were the B-villains, but the followers of Trigon felt kind of generic and, like Trigon, disappointing. There’d be a lot more freedom to handle this because Brother Blood wasn’t as well explored in Titans media, the only incarnation being from the Teen Titans cartoon but stripped of his cult-and-demon origins. Infusing these elements back into the character would make it original and, if done correctly, timely. Like, a good representation of who Sebastian Blood could have been is a portrayal similar to James Wolk as Joe Keene, Jr. on Watchmen the series; someone who is viewed favorably with good press but ultimately runs a secret cabal with many followers a goal of world domination under the banner of ‘The Four-Eyed Demon’. And to do this, they need the Demon’s daughter.

Which brings us to Rachel. Having her be pursued still works as a great set-up, however instead of followers of Trigon they’re followers of Sebastian Blood. She needs help. Especially if we keep the scene of her foster mother being murdered. Instead of Dick, though, she runs into Starfire.

And our entry point into Starfire would be different, too. We find her on an alien spaceship, in its jail, but then she sees visions as the ship passes over Earth and invigorated by the machine’s malfunctioning (due to Raven’s spirit, as we’d find out), Starfire manages to escape and finds her way to Rachel. Saving Rachel ( “I believe we can help each other”). In this way the Starfire and Raven relationship replacing the Dick and Raven relationship as the crux of season 1.

I’d still include Dick, albeit in a different capacity and with a lot changed. When he finds Rachel and Starfire, it’s because he was investigating activity in the area (he’d been tracking the cult for a while). He’s working undercover but also as the Robin persona. He still believes in the mission while, at this point in the story, Batman has given up and retired. This is because Jason Todd had died a year ago, and because of this and thinking it’s his fault - Bruce gave up and abandoned Gotham for parts unknown to deal with his grief. Dick helps Starfire and Rachel, and together the trio leave for elsewhere - Dick aware of how the cult needs Rachel and haunted that he couldn’t look after Jason, he sees how he can protect Rachel and clings to tha, Rachel curious about why a cult would want her and what her origins are, and Starfire, free of her imprisonment and indebted to Rachel but also homesick as she didn’t leave of her own choice. Over the course of the series they’d grow closer as a family, especially when Gar joins them (I would keep the Doom Patrol episode because that episode served its purpose well, of being a backdoor pilot - maybe change a few things but those details are so minute it’s not worth mentioning).

A big change - no Hawk and Dove. I think Minka Kelly and Alan Ritchson were great choices and acted well with what was given to them, plus I enjoyed Hank’s backstory and think, if they wanted to, a Hawk and Dove miniseries would have been fantastic to explore that better (and allow for a better paced introduction between Dawn and Hank). That being said, my main reason for cutting out Hawk & Dove is two-fold. First, how they killed Dawn’s mom and Don Hall. That was so dirty and so badly conceived. Second, the weird love triangle between Dick, Dawn, and Hank. It just made no sense.

Instead of Hawk and Dove, I think a better choice to introduce into live action would be Karen Beecher and Mal Duncan - Bumblebee and Herald. Especially after reading their issue of ‘Secret History of the DC Universe’. Have Mal want to be a hero, then meeting Karen, and not wanting him to go it alone she joins him with her tech. They are approached to join the Titans and do, only being superheroes begins to put a stressor on their relationship. And one night Karen and Dick, a little drunk, a little sad from events that will be explained in s2 hook up. Once this is found out Karen and Herald leave and this marks the end of the Titans. This will also tie into Dick’s feelings about how he felt he keeps losing his family, and the Titans breaking up was viewed as his fault, so instead of being against personal relationships he is the one trying to make this new team - Starfire, Raven, and Beast Boy - his third chance). Instead of Dawn being knocked into a coma, I say it should be Mal (because then we can get Karen trying to save him and giving him robotic vocal chords which will allow him to do more, like sonic screams or whatever a la Vox, his post-Infinite Crisis identity). This will also further shine a light on their issues, because while Mal gave up heroics altogether, Karen would suit up time to time and Mal feels like Karen used his coma as an opportunity to give him powers because she wants him to be someone he’s not.

Their adaptation of the Nuclear Family was iconic™ so that’d definitely stay in (especially because Nuclear Family - one of the values they in the group believe in lol). The convent episode, too, although instead of flashbacks to Dick’s past we should have Starfire and how she grew up being the prisoner of warlords and experimented on; which is why she’s uneasy leaving Rachel with the sisters and then explodes when she sees Rachel strapped down because it triggers her. We will also have some of these hallucinations in the asylum scene. The episode with Dick and Jason would be replaced by the aliens who captured Kory coming back to take her to their planet, the team coming together to rescue her.

The biggest diversion, I think, would be after the asylum episode. The group escapes, except there’s no Arella, and it’s believed that Rachel sacrificed herself to tear the organization down and without her the group goes their separate ways. Dick goes to Donna Troy because he wants to know why, no matter how hard he tries, he can’t keep anyone around. Starfire is stuck on Earth and unsure about what to do next after finding out, in the replaced Jason Todd episode, that her sister sold her to the enemy. Gar doesn’t believe Rachel is dead. The three of them (plus Karen and Mal) receive visions from Rachel and realize that she’s still in danger and go to help.

Rachel is being held by the Cult of Blood and are working on setting up the ritual. By the time the group arrives to where she is, she is a happy member, and she tells them that they should join and be saved. They’re confused by the dreams they have - it’s Raven’s soul self fighting against her chains.

This season would culminate with the Cult of Blood capturing the group after Dick, not knowing when to leave well enough alone, rushes in and gets ‘baptized’ into the Cult and is brainwashed like Raven (although not like in that dumb dream episode that was ridiculous). He, like the others, are in attendance for the wedding between Sebastian Blood and Raven (which would be creepy because he’s 32 she’s 14), but at the pleading of Starfire Dick is freed from his mind control and releases them and they fight to free Rachel. It’s too late, however, as the ritual is completed and the ‘kiss’ is Sebastian drinking Rachel’s blood. Doing this opens up a portal which sucks up Sebastian and his followers, and is only closed after Starfire breaks through to Rachel and she gets control and closes the portal herself. The group leaves, stronger than ever, and assured that being Titans means more than being a team.

We’d get after credits scenes of the cult learning of Sebastian’s demise and their next plans, saying that “Junior” will have to be prepared earlier tha expected. Then, the other after credits scene - because Raven’s portal caused disasters across the world (”Raven ‘cleansing’ the world for Trigon’s arrival) - is Superboy breaking free.

Also, goes without saying, RAVEN WOULD HAVE HAD A BETTER WIG!

SEASON 2:

Goes without saying that season 2 would explore themes from the 1st season. Dick Grayson defining himself by who he is surrounded by, a season long search for an identity that is his and not what’s given to him (by Batman) and settling into the role as a leader as Nightwing (also, by retiring Robin, he won’t let the past haunt him). Starfire settling on Earth, her choice, and making friendships and relationships that last and help her realize this is her home. Raven is struggling to control the darker aspects of her powers after them being awakened during the ritual while also allowing herself to be a teenage girl. Beast Boy trying to fit in with this group while also wanting to prove that he can do more than just ‘turn into a green tiger’. Karen and Mal’s relationship would definitely hit rough patches (especially when Mal leaves the team and Karen because he only stayed with the team because of Karen). Donna recovering from the trauma of the original incarnation of Teen Titans, which is brought to the forefront once we introduce Deathstroke as having returned.

The second season, however, would start out not with any of these characters but with the continuation of the second after credits scene that introduced Superboy. That was one of my biggest gripes with the second season, how DELAYED the introduction of Conner was. You don’t have that scene and then keep us waiting for five episodes. Second season we enter on Superboy from the JUMP. Do the entire ‘Conner’ episode but only changing the ending, where instead of him saving Jason (because remember, Jason’s ‘dead’ at this point). Instead of that, he and Krypto are stumbling around a non-descript city, lost, unsure of what to do with their power, until they see a broadcast of the Titans saving people and realize that’s where they should head. On the other side of this, Mercy - having failed in recapturing Superboy - hire Deathstroke to go and find him. He accepts, and begins on his trail. This will help tie the antagonists’ storylines together so it’s not as disjointed as it felt in season 2 (instead of competing for the narrative they share it).

Then, we have the Titans doing their thing - Robin, Bumblebee, Vox, and Wonder Girl back in their costumes while Gar, Raven, and Starfire are training and learning while also helping take down villains in the San Francisco base. There are memories there, sure, but the others are doing their best to make it look like it’s not bothering them, Donna especially. We can have Arthur Light break out and go on a warpath for the Titans, and this can be our lead-in to the backstory episode of how the Titans became the Titans (because ‘Aqualad’ was one of the worst episodes of anything I’ve ever seen, badly written, poorly edited, and so misplaced). We see Robin, Wonder Girl, Aqualad and Speedy - Mia Dearden - coming together to chase down Dr. Light after an alert came in to the League that went unanswered because the League was busy dealing with something else. While fighting him, they receive help from Mal (in his Guardian identity) and Karen, and together they decide being a team is great and it’s nice having peers instead of mentors working iwth, so they form the Titans.

While in the midst of the big climactic battle with Dr. Light, where he’s firing on innocent civilians, he hits Superboy and nothing happens and Superboy helps them defeat Dr. Light. As they welcome Conner and he explains why he’s there, he’s struck in the back by a kryptonite bullet and we see Deathstroke watching from above telling Mercy it’s done. “So you’ll be bringing the subject back?” “Actually... there’s some business here I’ll need to settle first.” We’ll have another scene where, in an apartment, a young girl with white hair is watching footage from when Superboy was shot and recognizes a blur on the rooftop. She tells her brother, who tells her to leave it alone and if they lay low maybe Deathstroke will leave without realizing they’re here. She tells him that, despite what he or their mom thinks, she’s going to take care of him once and for all. This is Rose and Jericho.

Superboy is in a coma, the team trying to save him as the bullet didn’t fully kill him. Donna is shaken because it reminds her of what happened in the past, the last blow that spelled the end for the first generation of Titans. We get some more flashbacks. Showing Dick and Karen getting closer while Mal sort of stews silently, Aqualad getting into fights with everyone because he’s been trying their patience a lot (kind of like the friend you only hang out with because your dad is friends with his dad), and awkwardness between Donna and Mia since we learn they were interested in each other but never acted on it (because Donna is a lesbian and her and Aqualad were compulsory heterosexuality PLUS they could only mention Roy Harper but not actually show him). Soon we find out that Donna is being called back to Themyscria to finish her training, and the team throws a goodbye party. This is where Mal and Karen have a fight and she gets a bit too drunk, so does Dick because Donna is his best friend and he’s going to miss her, and they both have been feeling stress, so they hook up. Also, Mia leaves to tell Donna that she’s in love with her at the airport, and asks if it’s okay if she comes with (”It is an island full of women after all. I’m sure... this, us... would be more accepted than here.”) Before Donna can say yes Mia is shot dead by Deathstroke before her eyes. This, coupled with Mal finding Dick and Karen in bed together, leads to the Titans’ disolvement. We’ll see Kory comforting her while Dick searches for who shot the bullet with Karen and Mal, fearing that Donna might be right - and angry when she is.

They save Conner and he joins the Titans just in time to help them face Deathstroke, but also have to contend with Rose who isn’t on Deathstroke’s side but also isn’t friendly with them. It’s only when Jericho comes to them and explains his and Rose’s backstory, of being Slade’s kids, do they understand and work out an agreement to help take down Deathstroke and his backers (who turn out to be Cadmus).

Meanwhile, with Deathstroke taking too long, Mercy approaches Conner with an offer to let them help him and that the Titans are only pretending to be his friend, meanwhile they only care about his powers; but in the end they’re kids and don’t know what they’re doing. When this fails to work, they kidnap him and Krypto, replacing him with a version of Conner who is obedient to them to work as an infiltrator. Mercy then approaches Deathstroke, showing him she has a guy on the inside, and tells him that she’ll help him take down the Titans but they’re doing this her way.

Eve, imprisoned by CADMUS, helps Conner and Krypto escape (by sacrificing herself or not by sacrificing herself, dealer’s choice), and they hurry to the final battle between Deathstroke & Cadmus vs. the Titans. Just when it looks like they have Deathstroke beat, ‘Superboy’ turns and starts attacking the others. Conner hasn’t arrived, and it looks like everyone is down for the count. The fake Superboy (Match) has Kory in his grips and is attacking her, only for Donna to recover and tackle him. She batters him, punches him, and as she’s about to strike him again he uses his laser vision to strike Donna through the heart (a la Graduation Day - a much better way to ‘kill Donna’ then by electricity). Superboy arrives too late to save her, but he does take the other Superboy away before he explodes (Mercy’s final play - it would’ve killed Deathstroke too). Conner is still alive, and he’s saved everyone. In the confusion, Deathstroke slipped away.

We wind down, Rose and Jericho promise to hunt Deathstroke down and make him pay for his crimes. This will at least explain why they aren’t in s3 (which sucks, because Rose was GOOD). Raven still promises to bring Donna to Themyscira and work on bringing her back. Conner isn’t blamed for Donna’s death and they reassure him that they’re his family and welcome him back. Dick has taken on the Nightwing mantle and accepts the responsibility of being a leader, and that while he might not have been mature enough in the past, he can’t let that define him - only he can define who he is). Kory wants to go with Raven, but understands that she needs to stay with the team and only wishes Rachel luck, hoping Donna can return from the dead. Mal rejoins the team, he and Karen promising to be better to each other. Gar’s feelings of uselessness will continue because, as Conner’s best friend, he should have known something was off.(I don’t see this plot point ever being fully resolved until maybe later on).

Deathstroke wouldn’t die because you don’t WASTE Deathstroke! Killing Deathstroke cuts off so much potential in terms of storylines. I mean, there goes the Judas Contract which, despite us already having a varied animated retellings, would be beloved if done live-action and right.

Also, sorry to my DickKory fans but season 2 would lay the groundwork for some DonnaKory endgame - although the main romantic struggle would be between Dick, Donna, and Kory, with Kory at the middle and Dick and Donna the best friends who fight over her.

SEASON 3:

If we are working within the parameters of this season, and want to tackle Red Hood, there is a possibility that I’ve been thinking over and will expand upon here.

As I’ve mentioned before, Jason is dead. Because of this, Batman has abandoned his crusade against crime in Gotham because he feels there is no point to his battle and can’t continue. He’s been gone for a long time, however, this is the season where I would introduce him. He comes to visit San Francisco and Dick a very changed man, smiling, brightly-colored clothes, very into new age mysticism (”This is Batman?”). We find out that, after Jason’s death, Bruce went out on a new mission, to find a way to be at peace over the things he can’t control, and so through this journey he’s discovered inner peace and how to live despite all he’s lost. And he’s come back to Dick to share this knowledge with him, as a way to make up for indoctrinating him with these bad habits and instead lead a healthier life (crimefighting being like a drug). This will put Dick in a crossroads, questioning if he’s doing this (this being heroics) because he’s trying to use it to heal or if he really is meant to be a hero. This will be the season where the driving question is - Why Do We Don the Masks?

At the end of the first episode, however, we do the scene where the crime bosses meet up and Red Hood introduces himself, saying that he’s going to be taking control of all the criminal enterprises in Gotham.

This catches Barbara’s attention, and so she contacts Dick to fly back to Gotham and help contain this. After her appointment as Commissioner, she’s made great strides in helping clean up Gotham - especially in the tough months that followed once Batman retired (”Joker’s been imprisoned in the Slab, and he’s been abnormally quiet”). They still come up against costumed criminals but the police are better prepared to fight them, especially with help from Barbara, who knows the strategies, and Lucius Fox, CEO of Wayne, who helps develop non-lethal tech for the police to use in the battles. What’s also been helping is a small group of crimefighters who have taken to the streets, picking up the slack after Batman’s disappearance. (Barbara, “But this Red Hood... he might be too much for them to handle. We don’t want another me, or worse... another Jason.”) Dick promises to help, with both Red Hood and this group of kids - especially because one of them has taken to calling himself Robin.

That’s right! I’d introduce Young Justice in s3 - composed of Robin (Tim Drake), Spoilers (Stephanie Brown), Hawk and Dove (Hank Hall and Don Hall). Tim saw what was happening to his city after Batman quit, and decided enough was enough and became a vigilante to honor him and Jason, taking up the Robin mantle. He met up with Stephanie Brown, daughter of criminal Cluemaster, and brother Hank and Don Hall, who were working as vigilantes targeting molestors (very in-line with how Titans showed them, they’d just be younger). They’ll end up in a situation where they’re in over their heads, only to be saved by Nightwing who tells them with no uncertainty that they need to shut their operation down or else they’ll end up hurt (because they’re untrained).

Meanwhile, back in San Francisco, Starfire isn’t handling Donna’s death nor Rachel’s absence well, and is being inundated with strange visions that is making her act out of character. What’s not helping is that Bruce Wayne has decided to stay in San Francisco with them while Dick is in Gotham. Conner and Gar are enjoying this relaxed, free-spirited Bruce (he’s like the fun uncle), but it drives Kory crazy. These visions are from her sister, and even though she hates her for selling her, after finding out she’s on Earth and trapped somewhere, she goes to rescue her with Gar and Conner at her sides. They resuce her and bring her back, and Blackfire ‘apologizes’, telling Starfire that it was either Kory or their planet - and as the eldest she made the tough choice so their people wouldn’t suffer anymore harm. Starfire accepts this and welcomes her back. Also happening in San Francisco, Karen and Mal are at a crossroads because of a new development - she’s pregnant. This has put a stop on her hero journey, and while she is excited about being a mother she also wants to be a hero and we see more of them trying to work through their problems. Gar is also using Bruce to indulge himself so he doesn’t have to think about being the ‘useless’ member of the team, using his powers like a party trick to feel like he’s useful, which worries Conner.

In Themyscira, Raven pours through their texts to see how she can resurrect Donna. While there, she befriends and is aided by a young girl, Cassie Sandsmark, who is staying on the island with her mom while doing work (archaeology work); together, they find a way to reach Donna in the afterlife through an ancient ritual most of the Amazons are wary of. This doesn’t stop them, and together they perform the ritual. Raven journeys into the afterlife while Cassie is there to wake Raven if things look rough; while in the afterlife she hears the voices of Sebastian Blood and the ‘dark’ side of her, but is reminded of who she’s searching for by a soft, familiar woman’s voice and makes it to Elysium. There Rachel finds Donna and Mia, together. Donna is wary about going back, because she is happy with Mia; but Mia and Rachel remind her that there’s happiness down on Earth and there’s a lot left to live for. Donna agrees to follow Raven back, but not before saying goodbye to Mia who tells Donna she will find love again, only she shouldn’t be afraid this time to say something about it. I’d also love to see a way to involve Dark Angel somehow, maybe as a dark force approaching to prevent Donna from returning to life?

Nightwing is working with Barbara to shut down Red Hood’s operations, but it’s not going too well. It’s starting to feel like Nightwing is being taunted now, too, because a lot of what Red Hood is doing feels personal, like he knows Nightwing behind the mask. Ultimately, when Red Hood catches Young Justice and gives them a good beating, Dick stops him and it’s revealed that Jason is under the helmet. We then find out how he was brought back to life when, just as Dick has Nightwing beat, someone intervenes and saves Jason - Thalia al Ghul. We get an episode dedicated to Jason’s backstory, where he wasn’t killed, only badly beaten to the point of death. However, it was assumed he died because of the explosion. Bruce couldn’t find the body, he assumed it had been obliterated. Really, Jason had wandered away and was found by strangers and admitted to a hospital with severe brain damage. One day someone came to collect him, Talia al Ghul. She brought him to her home and used the Lazarus Pits to revive him, then trained him in assasinry so he could do the one thing Bruce never could - save Gotham.

Dick, while recovering in the Manor with the kids from Young Justice, calls up Bruce and tells him that Jason is alive. This will lead to Kory finally confronting Bruce and yelling at him that he hasn’t ‘found peace’ and instead switched coping mechanisms. This inspires Bruce to return to Gotham, the Titans following him (save Karen and Mal). Donna and Rachel meet them there, and we get the reunions plus Young Justice meeting the Titans.

We get reports that the Joker has escaped the Slab, and we find out Jason has kidnapped him. As the team investigates across Gotham, Dick goes on his own to where he knows Jason has Joker. They fight, with Jason threatening to blow them all up because as long as the Joker is dead it doesn’t matter. “He deserves it. He deserves it for all hat he’s done. For what he did to me! Please... why can’t you let me do this?” Bruce arrives, at that point, to tell him why. Because it won’t change things. Jason yells at Bruce, then, and Bruce accepts it. We also hear from Bruce about why he didn’t kill Joker, though he was close. Bruce admits that he snuck into Arkham with the decision to kill the Joker, but stopped just outside his cell. He realized that it wouldn’t bring Jason back, just as it wouldn’t bring his parents back, and he didn’t want to disappoint Jason by becoming a killer. Jason and Bruce make up, though Joker still dies - Thalia kills him. “If you won’t ensure a safer world, my Darling, I’ll do it for you.” She then detonates the explosives to escape and the three barely escape with their lives.

You’d think they’d get some rest, then, huh? WRONG! Because while searching for Jason, Blackfire betrays Kory and reveals she sold Kory so she could secure her position as ruler of Tamaran. A warship then appears in the sky where Blackfire takes Kory, announcing that Gotham will be the first city to fall during the invasion.

The s3 finale would then be the Titans vs. aliens as they drive off the alient threat, with Donna, Jason, and Dick working together to free Starfire from her sister. We’ll get a final battle between Starfire and Blackfire where Starfire asserts her status as the stronger sister, and that while she wishes Blackfire wanted a relationship between them, she won’t cry over it anymore. Blackfire takes her fleet and leaves Earth after facing humilation, and the group returns to Wayne Manor to celebrate.

Bruce has decided that, not only will he return to Gotham, but Batman will be coming back. He won’t be alone, as he’ll have a team with him. Jason decides to stay in Gotham and work on his relationship with Bruce, although knowing he will have to go out and find Thalia at some point. Hopefully by then, Tim and Steph will be well-prepared to stand on their own as Robin and Spoiler - inducted into the Batfamily. Hank and Don choose to go with the Titans back to San Francisco, especially since they were very impressed with their teamwork and Gar, who was able to transform past a tiger into something else.

We won’t be involving the Scarecrow in this. Scarecrow’s involvement wasn’t about the Titans and more of DC trying to tie him in elsewhere since Fear State will be starting soon. Plus *spoilers* Bruce killing Joker was the worst decision for Titans to do. It only served to do away with Bruce Wayne so he wouldn’t be involved in the show anymore which they could have easily solved if he wasn’t introduced too early. Keeping the Titans in Gotham for the entire season feels incongruent to who the team is and what the team is about, so if they divided the storyline between Gotham and San Francisco it’d probably play easier and allow for the characters to grow in their own way instead of being chained to the one prevailing storyline that is Under the Red Hood. And when they come back to San Francisco the Titans realize the benefits of training the youth of heroics and commit to teaching Rachel, Gar, Conner, Hank, and Don - and they introduce Cassie who joins them after getting the go-ahead from her mom and Diana. While Karen might not be able to delve into heroics for awhile because of her baby, she can still help by teaching. This will then lead into the next season which would be Titans vs. H.I.V.E. Academy, reintroduction of Slade, and bringing Terra into the fold while also having Rose and Jericho return, too.

Season three would sort of test everyone, give them the option to walk away from being a hero or choose being a hero, and strengthens their resolve to continue, comforted by how this is their choice and it’s what they’re good at.

If anyone from Titans reads this and wants me for s4 feel free to contact me

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surveys-at-your-service · 3 years ago

Text

Survey #526

“i found asylum inside your armageddon eyes”

Which of the guys you’ve been interested in hurt you the most? Have I ever talked about a guy named Jason b4?????????? How tall is the last person you kissed? I remember asking him on my birthday because it was relevant to the conversation, and this fucking colossus is at least 6'8'', possibly a couple inches more if I remember right. Our height difference is honestly hilarious. Did the last guy/girl you kissed have any piercings? No. That's a hard thing to even picture. What is the name of the last band you discovered? That I actually started listening to? I really don't know. Do you prefer group projects, or would you prefer to work alone? I prefer working alone so strongly that most of my teachers through my entire school career would let me work alone on a lot of things. They either were close to me and knew it's just how I performed better, or they barely knew me but could see very, very clearly how shy and anxiously reclusive I was. Are your days full and fast-paced? My days were monotonous and almost entirely indistinguishable before the hospital, but I am determined to try so very hard to change that. I can't imagine them ever being totally full, but I definitely want to try to make them more... notable and worth something. Are you good with painting nails with your left hand? I am absolute royal shit at painting nails, regardless of which hand I use, because I have intense tremors. Do you feel uncomfortable sharing drinks with other people? YES. I don't care WHO you are, I don't want to. Would you snuggle a snake? I've done that many times before and certainly would be missing out if it never happens again. Hard or soft peppermints? Hard, 100%. Soft peppermints disgust me. What browser do you use? Chrome. What's the craziest thing you've ever thought of doing for a job? idk Have you ever gotten stuck in quicksand? No. Can you whistle? No. How many digits of pi do you have memorized? Only the first three that everyone knows. Have you ever eaten grass? No... Can you make a paper airplane? Not anymore. Do you like ice cream sandwiches? I love them and could really go for one right now. Do you prefer your strawberries with chocolate syrup, sugar, or just plain? Strawberries with sugar is phenomenal. Have you ever gotten a tattoo unprofessionally? No. I never would. Have you ever had to take care of an elderly person? No, and I don't think I could, especially if it involved cleaning them. Have you ever had a nosebleed? More than once. What’s your favorite flavor of Doritos? Cool Ranch. What’s your favorite movie genre? (Action, comedy… ect.) Horror. Have you ever seen a hippo in person? At the zoo. What’s the scariest thing you’ve ever seen? As it's part of my most severe phobias, the first time I saw a video of a very active baby moving in its heavily pregnant mother's belly, I nearly fucking retched. Chills down my spine and ACTUALLY nearly cried because it was just so otherwordly and gross to me. What do you like about the house you live in? It has two bathrooms. Are your parents still together? If not, do you know why? No. I think the primary reason was severe financial arguments, but I've never really asked them. I just know Mom hates his guts while my dad is over it. What's the most amazing animal you've ever seen in captivity? I've been very close to an African elephant. Do you have a favorite Marvel character? No. Favorite DC character? Harley Quinn. What is your favorite historical film and why? Maybe The Boy in the Striped Pajamas because it fucking slaughters my heart and reminds us to never let such history repeat itself. Name a sequel film (any franchise) you like better than the first film. Why is that? Ha ha I swear it's pure coincidence, but I agree with the person who took this before me in that my answer is Shrek 2. I love the series period, and the first is great, but I enjoyed the second more. Which do you find most interesting: Greek, Roman, or Norse mythology? Why? Greek, and idk, I just do. Which tale from whichever mythology you listed above do you find most interesting? Ngl, I don't remember enough details to answer this. Do you have any houseplants? No. What is your favorite type of bird? Barn owls, especially melanistic ones. Breath-taking. What is your favorite vampire movie? *shrug* Your favorite fictional couple? I'm not super invested in The Addams Family, but I do positively adore Morticia and Gomez. How I'm tryna be. Do you have a favorite historical couple? No. Have you received any good news recently? Yeah, like when I found out I was being discharged from the hospital earlier than I though. The doctor noticed I was on a decline the first few days, which I didn't think was even possible, and she believed I would do better with out-patient care versus being in the hospital after my suicidal ideation faded. She was 100% right. I only started to improve when I learned of my discharge date. Are you going to be getting any new pets soon? No. We can't afford the necessities for any right now. Do you like BBQ sauce? NO. Can you do a twirl like a ballerina? No. Even when I was a dancer, I was bad at it and could only do like, one or maybe two spins. Do you enjoy fishing? It's a guilty pleasure in that I find it very relaxing and quite exciting, but I don't actually do it anymore because even though I always released what I caught, I felt bad for the fish. Do you have any nicknames for your significant other? I always address him with a nickname. Have you ever set up your best friend with someone? Yeah. Then flirted with him behind her back like a total bitch. What’s the worst car accident you or a friend has ever gotten into? My little sister is remarkably lucky to be alive, as she once got into a wreck with an 18-wheeler because she was tailgating and something I don't recall happened when she tried passing. The car was totaled, but she miraculously got out with only some scratches and bruises with pretty intense seat belt burns. Have you ever gone to rehab or a clinic? For whatever dumb fucking reason, both psych hospitals I've been to doubled as rehab centers. What’s the weirdest thing about your parents? Uhhhh. I dunno, really. Do your parents openly make out in front of you and anyone else? That's a horrific image considering they're divorced and absolutely should be. But anyway, even when they were together, absolutely not. What’s the hardest thing about living in your house, with your family? The location just sucks; both Mom and I loathe it to the point it kinda depresses us two. Have you ever stood up to your parents? How did it go? My mom, yes. And it never goes well because she's always right. What would you do if your mother left you? I'm just going to be completely straightforward: if she left me by will and not death, I would probably entirely, absolutely shatter and kill myself. My mom is everything to me and does more than I could ever express for me. What would you do if your father refused to talk to you and didn’t want to see you anymore? I mean, I wouldn't blame him all that much with the letter I sent him when he abandoned my family. It was just... vile. I was so hurt and angry. I hate even thinking about it because sometimes I wonder how he forgave me so willingly. Have you or someone you know attempted to commit suicide? Me. Have you ever liked your best friend’s significant other? What happened? Once. I've told the story of Joel before and even mentioned it earlier. What’s the farthest you’ve ever gone on a school trip and for how long? Ummm probably the Asheboro Zoo in 5th grade. It was just for a day, obviously. Have you ever sabotaged an ex’s relationship just so the two of you could get back together? Even if I wanted to, I was at the very least decent enough to not try. What are you looking forward to the most this summer? People look forward to summer????????? Have you experienced a thunderstorm recently? No. There was a chance for some thunder a couple days back, but if it happened, I was asleep. What candy bar would you go berserk about if they ever discontinued it? LKJALKWJESLKWEJR the Reese's one that is shaped like a big Hershey's, with individual blocks. I fucking love that shit. Have you ever slept in a cabin? No! :( What would you do if you witnessed someone getting jumped? Call the cops while trying to get somewhere discreet to not be near the criminal. Can you read something in another language? I could probably pronounce most words in German, even if I don't know what it means, and I can understand a few things, but nowhere NEAR as much as I could in high school. Would you ever host a slumber party on a roof top? Hell no. I'd loooove to sit on a rooftop and stargaze with an s/o or good friend, but I ain't sleeping up there. what color are your favorite pj's? I love my pink polka-dot pj pants! I'm actually wearing them now, ha ha. What type of bread do you get from Subway? Uhhhhh I want to say Italian? Maybe? I don't go there nearly enough, and I don't know all their bread options. What would you do if you were caught in a tsunami? Uh, freak the fuck out and probably die??? Who do you admire the most out of your friends? That is VERY hard. I have incredible, very brave, and just in general good friends. I can confidently say Girt and Sara are very high on the list for various reasons, though. Who do you admire the most in your family? MY. MOTHER. Do you admire anyone that is famous? Sure, there's a lot, mostly YouTubers since I know the most about them. Markiplier gotta be #1 though, actual legend. Name one of your hobbies. I'm gonna use writing as the answer here. I'm going to try to do it more and make better use of it! What is something unique about you? The way I eat biscuits, ha ha. If it actually has contents and isn't just a plain ol' biscuit, I eat each part individually. What is your favourite thing about someone in your family? My little sister Nicole is basically a superhero. She's a children's social worker and is SO passionate about her job, literally saving the lives of children. All her babies LOVE her. She is incredible with kids. Describe yourself in three words. Passionate, empathetic, a dreamer. If you could trade lives with someone for a day, who would that be and why? biiiiiih lemme be Mark's girlfriend Amy for Reasons. What is your favourite television series currently? My love for Squid Game hasn't dulled down yet. I'm excited for the next season. Do you find dad jokes to be funny? NOOOOOO PLEASE NO If you could get yourself anything right now, what would it be? Y'all have NO fucking idea how badly I want Girt to be here so I can hug and smooch the life out this man lmao. He's spending the night tomorrow though! If money was not a limit, what would you buy right now if you could have anything? My mom a new, nice car. Ever wanted to visit outer space? A part of me wants to, especially as I've developed a deeper appreciation, awe, and general interest in it lately, but realistically, I'll never go. Even if given the opportunity, I'd miss Earth too much. If you had the ability to time travel, where would you go and what would you do? There are two big things: I'd love to witness the dawn of the universe, however it happened, and visit particularly the Jurassic Period of the dinosaurs. My inner paleontologist would explode. If you had the ability to read minds, what would you do with information you gathered? I honestly wouldn't want to be able to read minds. What is one thing you own that you wish you didn't? We have a decent amount of religious stuff in the living room which I really dislike, but this is Mom's house and it makes her happy, so I'm not about to complain. What do you and your friends do when you hang out? I only really "hang out" with my boyfriend, and we usually just watch TV or YouTube and snuggle, sometimes play games. Do you still have sleepovers with friends? Well, I guess as of tomorrow I'm comfortable doing that with, again, my bf. What is your biggest addiction overall? The computer. I'm really starting to see how problematic my dependence is, and I'm going to try with more vigor to at least ease up some. I need to have hobbies disconnected from technology. Once the pandemic is eased completely, what are you most looking forward to? Honestly, the pandemic doesn't affect my lifestyle much, but I suppose going to the movies.

#survey #surveys #lyrics: ''cyberhex'' by motionless in white

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davidmann95 · 4 years ago

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So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun. 2. Superman brews the Super–Elixir. 3. Superman answers the Unanswerable Question. 4. Superman chains the Chronovore.  5. Superman saves Earth from Bizarro–Home. 6. Superman returns from the Underverse. 7. Superman creates Life. 8. Superman liberates Kandor/cures cancer. 9. Superman defeats Solaris. 10. Superman conquers Death. 11. Superman builds an artificial Heart for the Sun. 12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10.  When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead��in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ‘ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades.  In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then. How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy. Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12. You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction. How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work. What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars. At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it.  This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.” However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious.  

NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

#All Star Superman #Grant Morrison #Superman

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