British - Writer | August 25, 1972 -
I like high fantasy as much as the next guy, but I also like a bit of grit and grime with my faux-medieval trappings.
Antony Johnston
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I've always loved 'lived-in' sci-fi. We take it for granted now, but it was a revelation in the late '70s - '80s, when movies like 'Alien', 'Escape From New York', and even 'Star Wars' introduced us to the idea that the future could, in fact, look old.
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The Fuse is a solar energy station in orbit 22,000 miles above the earth. But it's more than just a big solar panel array. The Fuse is also home to Midway City, a technically illegal settlement that grew out of a bunch of engineers who decided they'd rather make a new life in space than return home to earth.
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Our main character is Klem Ristovych, the most senior detective in the MCPD. Klem's a dinosaur, the oldest cop working the Fuse, and nobody can believe she hasn't retired yet. Hell, she can hardly believe it herself. But what else is she going to do? Sit at home and watch soap operas all day? She'd throw herself out of an airlock first.
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I like SF environments that seem used, and lived in, every day; not just rolled off a props truck. Look around you! Everything is scuffed, scratched, dinged, faded, even rusty.
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The Purple Man helps Matt understand that his powers are unique, and maybe he is cut out for the hero biz after all. And Mr. Fear challenges Daredevil's very philosophy; how does a Man Without Fear deal with a man who induces terror in everyone he meets?
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Quite simply, we're re-telling the very first adventures of 'Daredevil', as originally seen in DD #1-6, but in a modern style and setting - being faithful without being slavish. And I'm using those adventures as a framework to delve into Matt's psyche a little, as he learns to become a hero.
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'Daredevil: Season One' is kind of in-between. On the one hand, sure, it's a graphic novel. But on the other, it's beholden to existing continuity, and we're still telling the story in issue-length chapters. So it's not that different to writing a miniseries, and I've done plenty of those.
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I was wrapping up my stint on 'Daredevil' co-writing with Andy Diggle during the Shadowland story, when Marvel asked if I was interested in doing something else with DD but a bit different. When they explained the purpose of the 'Season One' books, I was intrigued - I'm a big advocate of books for people new to the medium - and said yes.
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When someone says 'comic book movies', what they inevitably mean is a summer superhero blockbuster, with heavily-muscled and tightly-gluted men (plus the occasional token woman) in tight-fitting costumes punching the living daylights out of one another for two hours.
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The general public has been conditioned to think 'comics = superheroes' for as long as caped crusaders have been around - by critics, mass media, and Marvel and DC themselves, who have what you might call a vested interest.
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If you do approach a comics publisher, make sure it's one that publishes the kind of book you want to make. Don't take your literary fiction to Marvel or DC; don't pitch your Spider-Man epic to Image.
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