Why hello there!
My husband is going to interview Joss this week. Joss wants only questions he has NEVER been asked before. Anyone got any good ones?
This is the long and complicated question I wanted to ask at Comic-Con and didn't: "In both
Astonishing X-Men
and
Runaways,
you've gotten to create new canon for existing characters while also introducing new characters into the canon, characters who would then go on to be written by
other
writers who had no idea what you may have conceived for these characters' futures. How do you approach the process of 'playing in someone else's sandbox' and how do you let go of characters you've created so they can go on and do things you never imagined?"
Maybe your husband can make it more concise. I'm really more interested in the second half of the question. I've always wondered how comic writers feel when their story and characters go into someone else's hands. It would make me very twitchy.
Holy FUCKOS!!! RIO!!!
Got no Joss questions at this moment. Must ponder.
Maybe your husband can make it more concise. I'm really more interested in the second half of the question. I've always wondered how comic writers feel when their story and characters go into someone else's hands. It would make me very twitchy.
Not just comic writers, but people who've created characters that have lived on under new writers.
Oh, yeah, it's not exclusive to comics. But I think it happens a lot more. And it's not even characters you've created but also established characters/stories you've written. And then the next writer may step in and undo half your plot for all you know.
Oh, I really like that question. Thank you.
You're welcome! I wonder whether he had any long-term plans for Klara or Hisako, for instance, and what he thinks of the characters presently. Does he bother conceiving a future for the characters beyond what he'll get to write? Because it's likely the next writer will have no idea what his thoughts were and take the character in a different direction.
And it's different from running a television series because even though different writers are writing your characters, you still get to supervise. Collaborative storytelling is stressful! If you're a control freak like me.
Be sure to come back and post a link to the interview!
I have no Joss questions. Only RIO!!!!! asscaps and exclamation points.
Rio!
I've missed you terribly.
I'll think up some questions.
Two questions:
1. As a fan of musicals and a director of action sequences, do you think an action sequence can serve the same function as a song in a musical? That is, can you choreograph the action to reveal character and advance the plot rather than just create the spectacle of somebody outrunning a fireball?
2. When you did the uncredited rewrite of "Lover's Walk" on Buffy you reportedly locked yourself in a hotel room with a stack of punk rock cassettes by Husker Du and The Replacements. What did you listen to when you wrote "Objects in Space" (Firefly) and "Epitaph" (Dollhouse)?
