Hey folks, Ambush Bug from AICN Comics back with the second half of our Q & @ with comic book writer Dan Slott. You can check out the first half of the interview here where he talked about his early days in comics. Now let’s get into his more current stuff.
Ambush Bug: These days we see many writers writing multiple titles. Right now you have two ongoing monthly books (SHE-HULK and your secret ’07 project). Are you able to write more? Are you worried about spreading yourself too thin?
Dan Slott: When everything’s going smoothly in my life, two books and change is about my limit. Every now and then I can do something extra, like the GLX-MAS special, the Blackjack stories, or the TWO-GUN KID one shot. But for the most part, two books is my comfort level. As time goes by, I hope to get a good rhythm going—maybe get up to three books and change. But realistically, that’s a LONG way from happening.Bug: How do you shift your writing style to match the title you are writing at that particular moment? Is there a difference in writing styles and techniques used for SHE-HULK compared to those you utilize in THE THING?
Slott: I think I need the diversity. Once THING wrapped up, I tried to write two issues of SHE-HULK a month, and it wasn’t as easy as I’d thought. It’s a nice change of pace to mix things up.Bug: Your first SHE-HULK run wrapped at twelve issues, then re-launched with a new #1 to give it a larger marketing push. Does this approach work? Is it still an annoying rigmarole to have to go through?
Slott: I can’t argue with the results. Marvel’s plan worked. Our sales are up. The book’s in a healthier place. And I couldn’t be happier about that.Bug: In SHE-HULK #12 (previous series), a group of comic geeks saves the day "No Prize" style by coming up with a way to explain a gap in continuity with a little creativity. But they had to be poked and prodded first, encouraged to use their knowledge for good instead of tearing stuff down. Be honest: was the guy poking and prodding 'em (Stu Cicero) your comic book avatar?
Slott: Stu is a diehard fan who uses his fan powers for good. Let’s leave it at that.
Bug: Can No-Prize creativity still explain it all? For instance, is there a No-Prize explanation for the discrepancy between the heroic Hulk described in SHE-HULK and the killer Hulk described in ILLUMINATI?
Slott: Yes. Yes there is. BTW, where in the ILLUMINATI special does it say that the Hulk has been responsible for the loss of innocent life? It doesn’t. Honest. Are we talking about deaths or injuies? Go back and read it again. There’s a lot of wiggle room in the language that was used.Bug: Okay, She-Hulk's cousin…The Hulk. Bendis recently made out in ILLUMINATI that the Hulk's rampages leave definite casualties. This just on the heels of your SHE-HULK issue where the very competent Jen Walters - aka She-Hulk - insisted that they didn't. You responded on the topic at Newsarama. I completely agree with your take on the Hulk, in his origin alone, Bruce risks his own life to save Rick Jones from a bomb that he helped create. This act alone shows that, in his nature, he is a noble soul that would not allow his own creation to harm an innocent. And yes, there's a question here somewhere. To put it bluntly, Bendis has more clout at Marvel at the moment than you, and so his particular take is likely to be more canonical. Therefore, to a lot of readers, the Hulk is a killer. Is this frustrating to you? Would you prefer for Marvel to have more definitive character bibles to prevent such inconsistencies?
Slott: Twelve words: The Hulk has never been responsible for the loss of innocent life. I stand by that. Show me a comic that’s set in standard Marvel continuity where he is directly responsible for the loss of innocent life. You can’t. Is that saying “The Hulk has never killed”? No, it’s not.I’ve heard all the arguments. And it pretty much boils down to these five points:
1. The Hulk is a force of nature and forces of nature kill people.
No. Hulk as a “force of nature” is a metaphor. The Hulk is a gamma-spawned monster, a person, and the embodiment of Bruce Banner’s rage. He’s not a freaking volcano. Next.
2. He smashes people through buildings. That would kill them. And it’d probably kill the people who live inside those buildings too. So there.
If that’s your criteria, then by that logic Iron Man and Thor are mass murderers too. Just think of how many people they’ve thrown through buildings.
3. But Iron Man and Thor would have checked first. Or known where and how to throw people through those buildings. Hulk’s just a mindless brute.
If that’s your stance, then why not just say that a small sliver of Bruce Banner’s intelligence would help him (subconsciously) do the exact same thing?
4. But I’ve got this comic right here! A comic where Hulk kills somebody! Game over.
Check the comic again. Is it in standard Marvel Continuity? (We’re NOT talking about Ultimate Hulk, a Hulk from a What if?, or a make believe story). Did that person eventually “come back”? Check a few issues later. Was Hulk directly responsible for the act? Was it a case of mind-control or hypnosis? And finally: Was it an innocent life? Hulk killing a bad guy is well within the criteria of my 12 word statement.
5. But it’s not realistic. Of COURSE he’s killed people. He’s the Hulk.
Okay, here’s the BIG thing. Comics aren’t realistic. Sorry to break it to you. They’re stories about CHARACTERS. And maintaining the INTEGRITY of those characters is, at times, more important than maintaining the reality of that world. If the Hulk takes an innocent life, you forever ruin the character of Bruce Banner- who he is and what he’s about. If one innocent life is lost DUE to the Hulk—it IS his fault—and he needs to redeem himself. If two or three innocent people die and Banner does not take himself out—he is now a reckless killer, a person who knowingly is responsible for multiple counts of manslaughter—and he becomes TOTALLY irredeemable .
If you try to hold ALL comics up to reality they will ALL fall apart at some point.
Take Daredevil for instance. This is a man with NO superhuman strength. And yet we see him swing and bound from rooftop to rooftop. Well… Have you BEEN to New York? When you get to the end of a block, in order to cross an avenue you have to clear the lengths of two sidewalks and four lanes of traffic (sometimes six if there are bus lanes). That’s impossible. There’s no way around it. It can’t be done. Seriously. Get your best Olympic athlete. Even with a running start, they’re not going to clear the length of ONE sidewalk and one parked car, let alone two, three, or four. The idea that Daredevil can do that, or even swing across it, is ludicrous. What’s he doing? Reaching the end of the block, climbing down the building, crossing the street, climbing up the next building, and resuming his bounding? No.
You know how he does it? He’s a comic book character. And he’s not in the real world. And, btw, the Hulk has never been responsible for the loss of innocent life. Suck it up.
Whew! All right… Rant over. Next question?
Bug: Humor me. What would a Slott-helmed DAREDEVIL be like?
Slott: Still film noir. Still dark n’ gritty. But I’d put an emphasis on adding ALL-NEW characters into his rogues gallery. Every time I turn around it’s always Kingpin, Elektra, Bullseye, Owl, Typhoid, ninjas, ninjas, ninjas, and oh yeah… ninjas. I know everybody loves ‘em, but if I ever got a shot at the regular DD title, I’d put all of the Miller baddies (and Owl and Typhoid) on moratorium for a while. Still do dark n’ gritty crime stories—but with new faces and new challenges.That said? I would SO not want to work on DD right NOW—because Brubaker’s on it and he can do no wrong. (And, yes, I know he’s using Kingpin and Bullseye—but c’mon! It’s Brubaker! ‘Nuff said.)
Bug: The new OFFICIAL HANDBOOK OF THE MARVEL UNIVERSE seems to be a step in the right direction for a more cohesive Marvel Universe. What else could help make the Marvel U more new reader friendly, while still respecting those who have collected the books for years?
Slott: More single issue stories. Increase the chance that a new reader can get a complete done-in-one taste of what Marvel (and comics) are all about. And especially when it comes to books that feature characters that are currently appearing in major motion pictures.
Bug: Awesome Andy has become a beloved character and even earned his own Heroclix figure. Fulfilling?
Slott: Very! (Now here’s hoping for a Squirrel Girl Heroclix!)Bug: Where'd the character come from?
Slott: The Awesome Android first showed up in FANTASTIC FOUR #15. He was a big, mindless slave to his creator, the Mad Thinker. Somehow, before SHE-HULK Vol.1 #2, he gained sentience, got legally emancipated from the Thinker, and went to work at a law firm as a gofer/errand boy. Just how did THAT happen? Well, for his “Secret Origin” you’ll have to check out SHE-HULK 2 #14 (on sale in December).Bug: Where do you get your inspiration for the secondary characters you use? Do you flip through old back issues and go "oh man, the Awesome Android. That gives me an idea!"?
Slott: It could have easily have been the Super Adaptoid in that scene. But the Awesome Android clicked. Since he couldn’t talk, I threw in the chalkboard bit… And then Juan Bobillo just knocked the visual RIGHT out of the park. He could have easily been a one-off gag. But Juan brought him to life and made everybody love him.Bug: You seem to be working to rejuvenate sidelined characters (Arcade, Nighthawk, Mad Thinker) while other writers seem more likely to use them as cannon fodder or jokes. Are you actively trying to save old favorites before they get Blue Beetled?
Slott: Actually… Yes. That’s been the plan. At one point someone asked me if I could stick Slapstick into one of my books—before somebody “does something” to him? So I did. It can be a risky practice though—putting these characters back up on the radar.
In the end, it comes down to this: It’s easier to destroy than create. Easier to tear down than to repair. I think there should be a basic rule on the subject:
Kill a character you didn’t create? Then YOU have to create an ALL-NEW character somewhere else. (And, no, Ultimate versions of existing characters don’t count. All-New. If you’ve got the chops to take down someone else’s creation, let’s see if you’ve got the chops to add one of equal value).
This isn’t a matter of telling good stories or one writer’s style over another. It’s a matter of Character Conservation. (Geez, now I sound like the comic book equivalent of Al Gore…)
Bug: How do you approach reinvigorating characters who've gathered dust?
Slott: Just bring the love, man. Bring the love. There’s something cool about nearly every darn Marvel Character… Except all those crappy ones from the 90’s! Battling Bantam? Sheesh! (Just kiddin’! Actually, I’m kinda miffed that the Battling Bantam bit it over in CIVIL WAR FRONTLINE. *sniff* We’ll miss you, you strange-boxing-rooster-man. Via con dios!)Bug: You came up with a neat way of allowing Spider-Man to testify in court without unmasking: the Avengers-issue scanner that can identify any member, even reservists (which Spider-Man was at the time). Should more writers be looking for such creative ideas to preserve superhero traditions or are you content to be one of the few?
Slott: Not every writer is going to care about the same things. Nor should they. I don’t think I could have ever written a Spider-Man unmasking scene like the one in CIVIL WAR #2. My brain’s just not wired that way. And when I read it back when it was in plot form, my head nearly exploded. I was saying ALL the same things that you guys were posting on the internet—except MONTHS earlier—and ONLY to my editor and other writers who’d been given the plot as well.But here’s the thing… The FACT that it’s raised so much passion and intensity amongst the readership AND people who haven’t been readers in ages—that’s GREAT! This is going to be a comic book touchstone for years—a defining moment of this decade. And I look at all the interesting stories that are going to come out of it, and I’ve totally come around.
Bug: Since we're on the subject of CIVIL WAR, who's side are you on, Cap's or Iron Man's?
Slott: That's a head and heart question for me. If this were taking place in the "real world"? No question. Iron Man's side. I'd want to know that anyone coming to my aid you BET I'd want Captain America, Hawkeye, or Daredevil rushing in to save me.Bug: In a comedy book like SHE-HULK, everybody has fun poked at 'em, but is there ever a time you worry about undermining a hero or villain's cred by casting 'em in a silly light?
Slott: No. ‘Cause it only takes ONE moment to make a character cool. Also, I think we treat the characters with a lot of respect in She-Hulk.Bug: Pug's unrequited love with Jen is one of those deliciously painful things to watch unfold month after month in SHE-HULK. Are there any plans to develop this relationship or is the guy never going to get a break?
Slott: Read SHE-HULK #13. You’re either gonna love me or hate me…Bug: Relationships are a tough thing to pull off in comics. Most of the heroes seem to be either forever single or forever longing for someone. There are only a few instances where a relationship has worked like Sue and Reed Richards, Peter and Mary Jane and those relationships have often been considered boring and suffering from the "Dave and Maddie MOONLIGHTING" syndrome. It seems as if longing for love (as with Pug and Jen) or breaking up relationships (a la Ben and Alicia) are the only ways to make relationships interesting in comics. Care to comment?
Slott: No. I’m tipping my hand on any of this. (Though, BOY, do I want THING to come back, ‘cause we had some GREAT stuff planned for Ben & Alicia.)Bug: I remember some resistance to Juan Bobillo's style early in SHE-HULK's run. What do you think about more traditionalist styles (say, SHE-HULK's other artist, Paul Pelletier) versus the wonkier guys like Bobillo?
Slott: They’re both great!
I love Paul’s work. I tried to pitch SHE-HULK projects with him a number of times in the past. The first time I got to work with him was on MEGASTAR (a character we created for Acclaim Comics). When the art came in I was ecstatic! I turned to my editor and said, “Look at this! I’m working on a REAL comic!”
Juan was AMAZING too. An issue or two into SHE-HULK and I realized what an original book this was going to be, because of the unique energy Juan was bringing to the mix. There’s so much fun, passion, and love in every line he puts on the page.
Bug: How much consideration do you put into your comics regarding the art? Do you write a story that plays out artistically in your head--knowing every panel, or do you write a script, send it to an artist, and are as surprised as the rest of us when it comes back with pictures?
Slott: My scripts have pretty tight panel-by-panel descriptions. Though I do try to leave places for the artist to have the freedom to express themselves: page layouts, camera angles, character and set designs, etc.Bug: Thanks for bringing back Hawkeye's sky-cycle. That's all. Just thanks.
Slott: Yeah, that felt good. I love Clint—his cocky attitude, his trick arrows, his sky-cycle, his showboating… the whole enchilada. I really wish we coulda’ REALLY brought him back in SHE-HULK.Bug: One of the complaints some writers who have worked at the Big Two companies have had in the past was that they had to adjust their own storylines in order to make room for the "big event" of the month. Is that why SHE-HULK is tying in with CIVIL WAR or did you just come up with a story after reading the premise of Mark Millar's story?
Slott: After AVENGERS DISASSEMBLED, I decided that if She-Hulk (the character) was going to take part in big events, the book should too. That way I get to play with what’s going on, put my spin on it, and keep the book in continuity AND maintain the integrity of what we’re doing in the main title. If we were around, we would’ve taken part in HOUSE OF M too.Meanwhile, CIVIL WAR has been great for our book. It hinges on a legal issue. SHE-HULK’S a prominent player in it—and FRONT LINE too. And the cross-over issue in SHE-HULK #8 (and its second printing! Woo hoo!) have helped us expose the book to a LOT of new readers. And that means a lot to me. I put a LOT of work into this title, and I want people to READ the darn thing! ;)
Bug: Why didn’t you do the same with THE THING then?
Slott: With SHE-HULK, we’ve taken odd departures in the past—and experimented with different kinds of stories. With THE THING, we were playing in an old school sandbox. It wouldn’t have been a good fit. And I’m glad we stayed true to the feel of the book.Bug: What's the process of putting together a Marvel book? It seems as if you are writing two characters which you deeply care about in THE THING and SHE-HULK. Is it just a coincidence that it worked out that way? Does editorial say "We need a THING book!" and then they look for a writer or with your current status at Marvel do you have to pitch a book like THE THING?
Slott: Tom Brevoort came to me with THE THING, and I leapt at the chance BECAUSE Ben Grimm is one of my favorite characters. In the case of SHE-HULK, I pitched.Bug: All eight issues of THE THING had a butt-load of guest stars. SHE-HULK is always filled with cool background characters. How much power do you have in choosing which characters you get to use in your stories?
Slott: For the most part? Carte blanche. Marvel’s been GREAT about that.Bug: Did you have any concerns about kicking off THE THING with the title character in such an atypical situation as being uber-wealthy?
Slott: Yeah. But that’s what JMS was doing with the character over in FANTASTIC FOUR. And in that case, he’s the FF writer, he’s the top dog. And I’ve got to take my cues from him. That said, the billionaire angle was very fertile ground for some interesting stories. It gave us a lot of fun toys to play with.
Bug: There's some fan debate over Lockjaw's status based on a story John Byrne did for the original THING series in the 80s. I'm sure you know it, so don't be shy - weigh in!
SLott: In a nut: John Byrne did a story in his run of THE THING that showed that Lockjaw was actually a mutated inhuman—and NOT a mutated dog. But later, in an issue of X-FACTOR, Peter David undid that story—explaining that it was a practical joke that Gorgon and Karnak were playing on the Thing. And all this time Lockjaw WAS a mutated dog.And there you have it. That’s where the pieces were when I started writing THE THING. Basically, I’m following continuity. I’m sorry if some readers haven’t read that issue of X-FACTOR, but it’s canon. End of story.
Personally, I think it’s the right way to go. Because the Inhumans treat Lockjaw like a dog. And if he wasn’t, that would make them total dicks.
Bug: How'd you get away with him leg-humping the Thing? Is nothing sacred in the post-Comic-Code world?!
Slott: Nope.Bug: Do you have any dogs?
Slott: I had a dog as a boy. And my folks have two big dogs at their place.
Bug: Do you find yourself watching animals in order to write a character like Lockjaw?
Slott: Sometimes. Man… I miss writing Lockjaw! He’s a hoot!Bug: Is that what your secret project for next year is? A LOCKJAW ongoing series?
Slott: No.Bug: Loved the big superhero poker game in THE THING. Can you enlighten those who don't know the origin of this tradition?
Slott: The floating poker game has been around since MARVEL TWO-IN-ONE #51, back in 1979. And since then it’s been one of comicdom’s fun, reoccurring events—like a Hulk/Thing fight, a Superman/Flash race, or an X-Men baseball game.I was so stoked that I got to write one. And, btw, if Hulk wasn’t off in outer space, the “Thing beats Hulk” moment would have probably been the ACTUAL ending to the story.
Bug: In the first issue of THE THING, it seems pretty clear Ben spent the night with a hottie actress. And now, at the end of THING #8 it’s implied that he and Alicia were going off to do "the deed". Any danger of getting too close to Larry Niven's "Man of Steel, Woman of Kleenex" territory?
Slott: Oh God. I prefer NOT to think about such things. Look, if you want dwell on it, AND you want to know how such a thing could be possible? Um… Let’s just say that Reed Richards built some kinda device. Okay?
Bug: One of the things I been totally dug about the new THING series is that every issue included a solid piece of moral/character teaching. I'm curious what age audience you're gearing this series to because, while not preachy at all, it does seem to be telling great stories that 11 or 12 year-olds would get a lot out of.
Slott: Thanks. I’m come from the school of thought that “All ages” isn’t such a taboo. Why NOT have comics that everybody can read?Bug: You're a Jewish guy and Ben Grimm is too. Was it important to you to incorporate Judaism in THE THING series?
Slott: Not per se. But the book was (and hopefully still could be) about Ben discovering more about himself. The Bar Mitzvah in THING #8 was a fun look at that. And a Marvel first. But, no, outside of the odd scene, this wasn’t something I was intending to hit readers over the head with.Bug: It's interesting that the Thing looks a lot like the Golem from Jewish folklore. I don't remember anyone mentioning this before, but it's definitely been hinted at in his many stories battling Puppet Master and his magic clay creations. Any plans to address the character's similarities to the fabled Jewish ghetto protector in your book?
Slott: Karl Kesel covered that in FF, and RAS focused on that in MK4, so I think that ship’s sailed.Bug: THE THING was suffering in sales and you were pretty vocal about saving it from cancellation. Now with the TPB coming out, Joe Quesada has said that if it does well the title could come back. So here's your chance to address the AICN audience personally. Convince those non-believers why THE THING is such a cool read and why everyone should be buying it.
Slott: It’s old school. It’s 5 complete stories in 8 issues! It’s got lots a’ clobberin’ and lots a’ Marvel guest stars! And it’s just plain fun! Oh just give it a shot already!Bug: Obviously, you care about the characters you write. Was it sad to see THE THING come to such an early end?
Slott: Yes.Bug: You said you have a lot of stories about the Thing that you wanted to tell. Is it hard to shelve those stories?
Slott: We had a GREAT six issue arc coming up. I really think it would've been the best thing I've written for Marvel to date. So, yeah, that one has been REALLY hard to file away.Bug: Maybe we’ll see that one as a miniseries or GN or something some day. Do you think that, like SHE-HULK, THE THING will get a second chance with you at the helm?
Slott: I hope so. And, I also hope that I'll get a chance to work with Andrea, Kieron, and Laura again! All the artists who worked on THE THING were amazing! And really nice too!
Bug: Let's talk about indies. BIG MAX was your first attempt at an indie book. What can you tell us about it?
SLott: It’s about an all-new comic book universe where their premiere superhero—their Superman, their Mighty Thor, their Captain Marvel—is… an ape in a cape. He’s Big Max, the primate that lowers the crime rate! Much Silver Age style silliness with funky super-villains, oddball superheroes, and a monkey sidekick.Bug: Are there any plans for more BIG MAX?
Slott: BIG MAX was a one shot. We might do some more down the road. That would be fun.Bug: I've heard BIG MAX was created some time ago. Looking at it now, do you see any changes in your writing style?
Slott: It was a beloved pet project I did almost a decade ago. It was something I was very proud of-- one of my favorite comics I ever wrote, but that never got to see the light of day. Having it come out was one of the happiest moments of my life. It always feels great to finally land “that one that got away”!Bug: What is it about monkeys and comic books? They seem to be a winning combination. Can you explain this?
Slott: Monkeys make good comics. It’s that simple. And God bless DC legend, Julie Schwartz, for figuring that out!
Bug: SHE-HULK. THE THING. GREAT LAKES AVENGERS. John Byrne. Are you a fan of Byrne's work on those characters? Is it just coincidence that you keep ending up with characters that Byrne did some great work on?
Slott: No coincidence. Growing up, I was one of the “Faithful 50”. See, in the 80’s and 90’s if you put John Byrne on a title, sales would jump by 50,000 copies. Ergo: The Faithful 50. And, as a young reader, that was me—smack dab in the middle of that throng. Let me tell ya, I’ve got long box after long box FILLED with just John Byrne comics. His run on FF is one of my favorite runs of ANY comic. Ever.Bug: Since you seem to be following in Byrne's footsteps, any interest in ALPHA FLIGHT?
Slott: I actually tried to pitch for ALPHA FLIGHT in the ‘90s. (This was right before Scott Lobdell got the assignment the first time around).Bug: You're pretty established at Marvel these days, but would you like a crack at DC heroes again? I read that you're a huge fan of the original Doom Patrol…
Slott: Hell yeah. Love all the Arnold Drake stuff—DOOM PATROL and DEADMAN. Wonderful stuff. Also really dig the CREEPER. Have a horrible soft-spot for ULTRA: THE MULTI ALIEN. But, of course, the characters I’d really want to write over there are Batman, Superman, and Dick Grayson.
Bug: What do readers of SHE-HULK have to look forward to in the next few months?
Slott: A return (and conclusion) to the Starfox story—guest starring a lot of cosmic guys, including Moondragon, Pip, and Thanos.The secret origin of Awesome Andy.
An action packed arc where She-Hulk takes on a ton of Hulk villains in “Planet (without a) Hulk”!
And, coming up in the August 9th issue, a longstanding cast member dies!
Yeah, you heard me.
