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Sorry to put you on the spot but...
Roy Thomas alleges here, https://www.bleedingcool.com/2019/04/18/an-open-letter-to-dc-comics-from-roy-thomas-on-paying-and-crediting-whats-due/ that DC Entertainment has not paid him royalties for their use of Artemis who he created. How do you feel about this?
Did DC ask you to change Artemis' name to Tigress or was it just a story/character decision?
DC did not ask us to change Artemis' name to Tigress. That was a purely story-driven decision. (And her name is still Artemis Crock.) Besides, to my thinking Roy created BOTH Artemis and Tigress (i.e. the Tigress version of Paula Brooks).
I worked as Roy's assistant editor at DC in the mid-80s. He was very good to me. And, of course, I personally think he deserves royalties on the Artemis character, no matter what she's called.
In the Bleeding Cool article linked above, he's wrong on only one point: when he says that virtually every other character in YJ has creators listed. Unfortunately, that's not true. No matter how many creators he sees credited on our show, the vast majority of characters still do not receive creator credits - or only include some but not all of their creators. How they decide who does and doesn't receive that credit (and the royalties that go with) is a complete mystery to me. I have been pushing back against this from Day One... to no avail.
Now, I might honestly get in trouble for posting this. And it won't change anything, anyway. So a big part of me is hoping that Ask Greg doesn't have much of a reach.
Or that I'm politically smart enough to delete this post.
But I'm not.
I remember reading your mini run with The Amazing Spider-man.
Would you be open to doing a one off comic. I'd love to see you do something with Superman and Batman in the comics, like a fun one off. Like Max Landis does
"mini run"? I wrote half of one issue. That's VERY mini.
I'd love to do more comics work for the big two. I haven't been invited.
In honor of their upcoming 50th anniversary
Why do you think the Duo of Hawk and Dove have struggled so hard in the Modern incarnations -post 2005, Dawn/Holly and Dawn/Hank Redux- compared to Hank/Don and Hank/Dawn 1.0 which are more fondly remembered?
I can't answer that, honestly, as I have nearly no familiarity with the more recent versions.
Of course, Don and Hank were designed to be emblematic of the Sixties. And it can be tough to contemporize characters so locked to a specific time period. But I liked the Chaos/Order configuration they eventually laid across the characters. And it seems like a fun way to keep the concept going in theory.
Hey Greg, there has been some fairly new explanations to the Speed Force in the comics that might make more sense to you at why there is a force that makes people fast, but not strong, etc. - Basically, the Speed Force is a force, similar to gravity, except that instead of keeping us grounded to the earth, it's the force that moves time and space forward. The reasoning for it granting people powers is because as it moves time forward, it builds up excess energy that needs to be released, which happens when speedsters run and give off lightning. Basically, the speedsters are the Speed Force's "release valve". Without them to expend the energy, time would not function properly. I hope this makes sense to you and I would love to hear your thoughts on this. Thanks!
Except in the last year or so I've read comics that talk about the "Still Force" and the "Strength Force", etc. To me, and again, this is just my opinion - it's overly complicated overthink of something that made enough sense already. And keep in mind, this is coming from a guy who on YJ does everything in his power to ground his super-heroes and their powers in reality. GROUNDING stuff is one of YJ's prime directives.
So, the release valve thing seems to make some sense, I suppose. We did something similar at the end of Season Two. But when you start talking about people disappearing into it or other forces for stillness and strength, I start to glaze over a bit.
But I've tried not to close my mind to the whole thing.
I didn't much care for all the multi-colored lanterns either. But by the time I had finished watching the Green Lantern Animated Series with Razor, I was on board.
Too be clear, none of the above is meant as a spoiler of any kind in any direction for YJ. We're just talkin' theory here and how certain ideas strike me, at least initially.
Wondering how you broke into the comic book industry? I know you were an editor at DC at one time. What was that process like?
Thanks for your time!
I think my story is probably a bit atypical...
In 1983, Marvel announced a search for new talent. I calculated that they'd be inundated with submissions. But I also calculated that DC would soon initiate their own talent search. So instead of prepping a Marvel submission, I prepped one for DC.
Sure enough, a month later, DC announced its own search for new talent. I immediately sent in my submission. Years later, I found the log book for these submissions, and mine was literally the second one they received. They logged the submission into the book with my name and address - and then lost the actual submission, which I also found years later at the bottom of a file cabinet where it had clearly slipped down between two hanging folders.
Because 75% of the submissions they received were from artists, they gambled that mine was an artist submission as well. They sent me a packet for new artists. But of course, I was one of the 25% who had made a writing submission. And I was outraged, OUTRAGED! Outraged in a way that only a know-nothing 19-year-old can be.
So I wrote DC Executive Editor Dick Giordano an OUTRAGED Letter. And then I figured that would be the end of it.
But for whatever reason, Dick was impressed with (or more likely amused by) my letter. He called me. On the phone. He invited me to come to the DC offices at 666 5th Avenue.
After I graduated from college, Dick hired me as an Editorial Assistant (i.e. as a Xerox Boy), and later promoted me to Assistant Editor and then Associate Editor. He was a true mentor to me. A great guy.