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This is question in regards to censorship in Spectacular Spider-Man. Back in the 90s series, there was an obnoxious amount of censorship (Spidey couldn't throw a punch?!) that sometimes hindered the story in obvious ways. Now, Spectacular Spidey is obviously a bit of a lighter tone, so I don't expect to see people dying all over the place or anything, but I am curious about how the censorship from the studios of this series differs from other shows you've worked on, like Gargoyles--which I think was great about being delightfully edgy whilst still obeying the censors. Gargoyles was much darker that Spider-Man currently is, obviously; I'm just curious as to how similar the rules regarding the amount of death and violence and such are and if it has changed a lot since your work in the 90s.
And just to be clear, I'm not complaining or asking for Spider-Man to be darker or more violent or anything, I'm very happy with how everything has been handled and balanced without getting too "gritty" thus far (and I'm usually a sucker for dark stories). I'm just curious, you know?.
I'm hinky about the way you throw the word "censor" around. The biggest rule is, was and always has been our own personal standards of what's right and wrong, what is and isn't appropriate. After that, both Gargoyles and Spectacular Spider-Man benefited from having smart, intelligent and understanding S&P executives (Adrienne Bello for Gargoyles, Patricia Dennis for Spidey). As I've mentioned before, there wasn't much we wanted to do on Spidey that was disallowed. The realistic sound of gunshots comes to mind... and those are being restored on the DVDs. I think it has less to do with the era, and more to do with the individual looking over your shoulder.
I just wanted to say thanks Greg for the fantastic story you've created here. I went on a nostalgic kick awhile back and revisited some series from my childhood.. most did not stand up so well, but I actually appreciate what you were doing with Gargoyles more now than I ever did back then and, in hindsight, recognize just how far ahead of its time it actually was.
The world you have crafted here is so vivid and interesting, it got me to thinking, have you ever thought about writing a novel about the Gargoyles? Or do you see Gargoyles always existing in a more visual medium, like animation or comic books?
Just to go a little further afield, what are your thoughts on "opening it up," Stars Wars style, so other authors can write the stories while you maintain tight control over canon? I think I know what your answer will be, but I have quite the appetite for more Gargoyles stories than exist at the moment, so I have to ask.
Thanks again.
As I've said (here) many times before, I'd LOVE to write a Gargoyles' novel.
As for your second question, that's pretty much how I ran the series in the first place.
Do you think that adapting a familiar comic-book figure from the medium of comic books to the television screen (as you're currently doing with "The Spectacular Spider-Man") is much like adapting a familiar legendary figure (such as King Arthur or Theseus) to a modern work of fiction (except, of course, that Arthur and Theseus have been around a lot longer than Spidey has)?
There are common factors, but no. The main difference is that Spider-Man isn't public domain. Marvel OWNS the character and is quite the watchdog, as it should be.
Do you know what the writer's strike had on the writer's extent that they can choose what they write and shows they can choose to script? Will this have any affect on the animation industry?
Uh... I don't have a clue what you're first question is asking. But the strike had little effect on the animation industry, as most animation writers are covered by TAG not WGA.
If you had wirten a story How would you do it t make people intersted more in the book?
You're looking at it.
I love your work and would really value your advice; I have decided to produce a comic/graphic novel from one of the stories I have designed. I have no experience of any budget to speak of and in this moment I can only recruit people who are willing to use it as a learning experience with just a hope of reward if all goes well. So far so good, I have a couple of writers on board, a few artists in training and a colourist. I guess this won't be a straighforward question as such, I ask for advice really. How much time is reasonable to spend on one issue, where do I turn to for recognition, do you have any general tips you could give on getting published or sponsored?
thanks!
I'm not sure I'm the guy to advise you. I've never self-published anything and know little or nothing about it. I'm also not clear... you're the writer, but you have a couple of writers? Most self-published things don't employ other writers, I'd think.
As for how much time per issue... well, I usually write a couple pages per day, so that I can write two comics a month (more or less). It takes me between twenty minutes and an hour per day.
Hey Greg,
I caught the spider-man premire and I have to say it was one of the best saturday mornings I've had in years. Congrats to you and your crew.
In the time between Gargoyles and Spider-man, how would say the overall process of creating an animated show has changed, for better or worse?
Mostly worse for me at least, because in those days I had the occasional ear of Michael Eisner. He was hard to sell, but if he said yes, we got to MAKE OUR SHOW with no more bologna attached. Nowadays getting a "yes" is nearly impossible as it's always a decision by committee. Heck it took them years to decide to make Spider-Man. I mean... Spider-Man?!! If any show is a no-brainer...
If I was evry want to become a writer what sould I do to make people like my storys? How old where you when you wrote storys? I been thinking of some good storys but I don't know if any one would like them? When I read a bionicle story I feel like I am in a different world. Am I cary or what?
Hey Amanda,
I began writing stories as early as Second Grade. It's a great hobby, and it can be a great profession -- but I'd only recommend it to someone who truly felt they couldn't be happy doing anything else. Because there will be REJECTION. Nature of the beast, I'm afraid. But if you want to do it, then do it. My first and biggest recommendation is to learn to PROOFREAD your work. Get a dictionary and look up words that you're not sure of. Make sure your grammar is impeccable. No one will want to read your work if it's loaded with typos and other small errors. They'll never get to see your wonderful stories. My next recommendation is to READ. READ, READ, READ. Read voraciously. Newspapers, magazines, classic works of literature, comic books, whatever. But read. My next recommendation is to LISTEN. Listen to how people talk, how they sound, their dialects, their slang, etc. That's the way to learn to write good dialogue. Finally WRITE, WRITE, WRITE. PROOFREAD. REWRITE. READ. READ. Etc.
Good luck.
Sorry, forgot to include this in my last question.
This past summer, I emailed disney some ideas I had for animated shows. They replied telling me that they can't take unsolicited ideas. So my question is, how do I make my ideas solicited?
Get an agent.
What is your opinion on the current strike going on between the writer's guild and the studios?
I'm completely pro-WGA. And I'm NOT a member of either organization.
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