Interview with Peter David

Editor's note: You know who Peter David is. He writes YOUNG JUSTICE and SUPERGIRL. He wrote Hulk and AQUAMAN for four and ten years respectively. No matter how long he stays on a title, he always remains fresh.

Peter David is cool. How many other "superstar" comic book writers would take the time to reply to a group interview conducted by a bunch of rookies who wanted to start their own web magazine? Not only was he willing to answer all our questions, but he actually was quite candid in answering the questions which we sent him. He even answered the questions which were misspelled because a certain rookie editor trusted too much in spell check to actually look for mistakes on his own.

The interview was conducted in September when we thought we thought we would get published. He really was giving us a heads up on what was happening on SUPERGIRL and YOUNG JUSTICE. Despite the fact that some of the info on the tiles may be dated, Mr. David's comments about the industry remain relevant. Besides, his answers really say a lot about one of the most popular creators in all of comics. I want to thank him for being our very first interview. He was a real delight.

The interview was conducted by Dennis Wilson, Joshua Blankenship, Kevin Saylor, and myself (RR).

DW: You've worked on a number of titles in which you've shaken up the status quo quite a bit. Some fans, however, dislike change of any kind and level the charge that you make changes for their own sake. How do you respond to fans that feel characters should always be written a certain way?

PAD: You can't give the fans what they want; you have to give them what they don't know they want. The reason that something catches someone's fancy is that it's new and different. And once they've gotten "used" to it, they don't want it to change for fear of losing what attracted them to it in the first place. Change is essential. I do not, however, endorse random or wild change just for the "sake" of change. Changes should develop logically out of what has gone before. Otherwise the implication is that the work done before you came along was garbage, or that the people who liked it were foolish.

JB: Did the editors on Hulk allow you to do what you wanted? If not, what did you want to do? Ditto for Supergirl.

PAD: Pretty much, up until the point where they wouldn't anymore. So I left. I wanted the death of Betty to be a study of a man cut adrift, of how he copes with the loss of that one thing which kept him anchored to the world. Marvel wanted it as an opportunity for the Hulk to go mute/savage and beat up lots of stuff. As for Supergirl, they've given me free rein thus far.

DW: Do you think that editors should take a “hands on” approach to story development or should they be more of a sounding board for ideas?

PAD: Definitely a sounding board. The "hands on" approach can be choking.

JB: (About changes on a character/ title) What do you think of Byrne turning the Hulk back into a "nomadic beast"?

PAD: He's doing what Marvel wants.

KS: Any thoughts on Erik Larsen taking the reigns of Aquaman?

PAD: Reins. Not reigns. Unless that was meant as a pun. In terms of getting Erik Larsen, I think it was a smart move by Kevin Dooley. Erik will pull in people who are fans of his, and people who dislike his work and enjoyed my run on AQUAMAN will feel constrained to pick up the book to see what he's done to or with the series.

** Note: This was not intended as a pun. Your humble editor put far too much stock in spell check here. This shall not happen again.

RR: From what I've heard, you and Mr. Larsen had some difficulty with each other online. John Byrne and Kurt Busiek have had their difficulties as well. Has the internet made the creators of the world less hospitable, or is it just shedding light on previously unnoticed conflicts?

PAD: Gee, I don't know what you're talking about. In the great wonderful world of comics, everyone loves everyone.

JB: Do you feel any resentment for being taken off the Incredible Hulk, especially considering the book was doing pretty well?

PAD: Tons.

DW: Almost every writer, yourself included, has encountered the specter of "creative differences" during their career. Short of leaving a title, how do you resolve a creative impasse?

PAD: If it's something that isn't all that important to you, you do what they tell you. If it is important to you, you either cave in as a gutless wonder, or you walk. There's not a lot of leeway.

DW: At what point do you find it necessary to leave a title?

PAD: I would much rather have fans saying to me, "Why did you leave this title" instead of "Why did your work on this title go downhill." At the point where I can't write stories that I feel are worthy of the fans picking up the book, that's when I go.

RR: I've heard that the world of comics creating can be quite political. Does getting published depend as much on who you know as it does on what you can do? Are there some writers who just can't work with certain artists or editors?

PAD: It depends on talent and luck. And yes, there are some writers who can't work with certain artists or editors. Personality clash, different perspectives on the creative process... any number of reasons.

DW: Two titles that you had respectable runs on were the Hulk and Aquaman. Can you give us any insights into how you approached these characters? What made them tick? How did you come up with your ideas?

PAD: The Hulk was a study in inner torment. And Aquaman was a series about a man thrust into kingship with no training who's always felt a sham. The series just developed from that.

DW: You took Supergirl, who was basically a glob of protoplasm, and merged her with a troubled young woman. Then she develops angelic powers. So what's next?

PAD: We cut off her right arm and replace it with hedgeclippers. I'm very excited about it.

Seriously, next we get her a publicity agent... and then a girl singing group invites her to join... and then she goes to Apokolips... and then the glob of protoplasm returns, and it's kinda pissed off.

JB: Why exactly did you use a supernatural take on a character who has never had much to do with magic?

PAD:Because she's never had much to do with magic.

DW: You delve pretty deeply into some religious imagery in Supergirl: Angels, devil-worship, spiritual duality, life after death, etc. One of the characters even claims to be God. How do you approach a subject that is often considered "taboo" in the comics world?

PAD: Very very carefully.

DW: One prominent comics creator (I won't say who) has voiced some sharp criticisms about your portrayal of Supergirl. How do you respond to this person's criticism?

PAD: Since I don't know who it is or what he or she said, I can't possibly answer aside from the concept that everyone is entitled to an opinion. I can only hope that he or she read the book before forming that opinion.

JB: Would you compare the work you've done on Supergirl with your work on the Hulk? Which do/did you enjoy doing more?

PAD: I enjoy both for different reasons. Supergirl I can write stories that are a bit more subtle, and explore theology and the human spirit. The Hulk was a psychodrama.

DW: Let's talk about your newest title: Young Justice. Any tidbits on your future plan that you would like to share with us? New members? Stories?

PAD: Well, Mxy shows up, and then there's a new villain called the Harm, who shows up in the same issue as the three new members: Secret, Arrowette and Wonder Girl. Then they take on Despero while the JLA guest stars, and then we'll be seeing Old Justice while the parents show up for a parent/teacher conference.

DW: Okay, I'm going to sound like a total fanboy and say that it is great to see somebody using the Red Tornado again. What made you decide to pick him to be YJ’s mentor and, most importantly, will we be seeing Cathy and Traya anytime soon?

PAD: Traya shows up in issue #3. As for why I picked him, I was told he was available and I said, "Great!"

DW: The three core members of YJ, Robin, Superboy, and Impulse, all have their own titles. How closely will you be working with the creative teams on these titles?

PAD: Closely as possible.

JB: What's your take on the recent cancellations at marvel?

PAD: Too bad.

JB: Where do you think the comics industry is going?

PAD: Hell in a handbasket.

KS: Any opinions about the things going on at Marvel right now (Spider-man reboot, Marvel Knights, renumbering books, etc.)? What about DC's recent acquisition of Wildstorm?

PAD: I think the renumbering craze sucks. Cutting the Hulk two years shy of issue #500. How many 500 issue marks are reached? It stinks. As for DC acquiring Wildstorm, this is no particular shock to me. Larger companies acquire smaller ones all the time.

RR: Is the industry going to be around in ten years?

PAD: Probably, but who knows in what shape?

KS: Are there any characters out there that you have not written but would like to? Any characters you wish you could do again? Any creators you would love to get a chance to work with?

PAD: Would love to do a Phantom meets Tarzan story. Always wanted to write Tarzan, and I think it's a natural team up.

DW: My last question is sort of an open one: What's on the horizon for Peter David? Fill us in on any upcoming project or event in your career that you'd like to share with our readers.

PAD: Neat stuff.

Redoubt is Copyright © 1999-2000, Ramsey Rusef. All articles contained inside are Copyright by their original authors. All characters and comic books reviewed in Redoubt are Copyright and Trademarked by their respective owners.