Hate to be the 3rd post in a row, but here is another two interviews with Duane! I hope there are this many interviews for The Shield in April haha.
http://multiversitycomics.com/interv...int-interview/Duane, lately you’ve been working in a number of smaller shared-universes in comics – Valiant, Dark Horse’s ‘Project Black Sky’ superhero books, and now the Dark Circle. Is there a certain appeal, to you, to working in a setting that has the benefit of a larger continuity, but on a limited scale?
Duane Swierczynski: My idea of the perfect shared-universe story is Jean-Paul Sartre’s No Exit. Three characters in a room in Hell. Cross that over!
Seroiusly, though, I like shared universes when they are organic and story-driven, not marketing-driven. When Tarantino’s characters happen to smoke Red Apple cigarettes in a bunch of movies? That’s cool, and meant for fans to enjoy. When Michael Keaton shows up as Ray Nicolet in both Out of Sight and Jackie Brown? That’s very cool. When publishers break one story into 47 pieces? Um, not as cool. Valiant and Dark Horse were super-smart to limit the scale of their crossovers and make them story-driven, not market share-driven If a crossover ever happens with Dark Circle, I’m sure it’ll be organic and fun.
What is your history with the Black Hood? I don’t know if most people realize that his first appearance happened nearly 75 years ago – when did you first encounter the character?
DS: Ah, my first time with the Black Hood. I remember it clearly. I was carrying my bindlestiff, wandering the rails, when I happened to see this delightful pulp comic book on the wire newsrack! This was back in October 1940s, you see, the tail end of the Depression, so I dug down into my dungarees to see if any had any coins left…
Actually, I was one of those people you mention, Brian. I’d never heard of the Black Hood until Alex Segura at Archie approached me.
I mentioned the long history, but it isn’t exactly linear. Was there a particular past incarnation of the character that really spoke to you?
DS: The original, for sure. Though the reason for a cop donning a black hood in 1940 is going to be very different than a cop in 2015. And that was the appeal. What kind of situation today would force a cop to slip on a mask?
Greg Hettinger – the Black Hood of your run – seems to only really have one thing in common with a prior Black Hood; both he and the original Black Hood, Matthew Burland, are both police officers. Is the duality in his life as both a public and secret crime fighter an important aspect of the book?
DS: Oh yeah. The fun thing about this book is that it all blurs together, and allow us to raise some interesting questions. Is it possible to be both a bad cop and a good vigilante? What are the limitations of the badge, and the limitations of the hood? How long can you keep a double life going before you start to completely crack?
The character has a history as a superhero, but a lot of the press thus far has presented the book as more of a noir-crime story than a superhero story. How do you balance those two, at times, disparate elements of the character? Or, is this book a complete break from the superhero past of the character?
DS: Shhhh, don’t tell anybody, but I’m not writing this as a superhero book at all. I’m pretending I’m writing a crime novel that Michael Gaydos happens to be illustrating as we go along.
Michael Gaydos is a great fit for what I just described – an artist who has done a lot of work in the grittier, non-superhero comics world, and in the street level superhero world. What has Michael’s work brought to the project thus far?
DS: An amazing sense of hyper-realism. Gaydos has the tough job—he’s not just the director and cinematographer, but he’s all of the actors, too, and has to convey expression and emotion and spirit. Wait until you see what’s he’s done with this series. It’s going to blow you away.
Which of Michael’s previous work have his pages, thus far, reminded you of?
DS: “Alias,” for sure. I remember reading those early issues and thinking, Goddamn, superhero books can do this? Gaydos’ art had a lot to do with that.
How integrated is “The Black Hood” to the other Dark Circle books? When are we going to see other aspects of the Dark Circle pop up in this book, or see the Black Hood elsewhere in the Dark Circle?
DS: SPOILER: At the end of issue #5 I’m going to have the Black Hood wake up in Hell with Inès Serrano and Estelle Rigault, and the Shield and the Fox will have to team up to rescue him!
Duane makes a lot of jokes in this interview, but it's still exciting. Can't wait.
http://m.hitfix.com/harpy/crime-nove...w-black-hood-1HitFix: For those who might not be familiar with the character, who is the Black Hood?
Duane Swierczynski: The Black Hood has been many different people over the years (in some versions, centuries), but essentially he’s a cop who feels compelled to wear a hood and fight crime on the down low. In this latest version, however, he’s a disfigured cop hooked on painkillers who hits the mean streets of the City of Brotherly Love on a revenge kick. It’s sort of my version of Bad Lieutenant: Port of Call Philadelphia.
HF: Will this new version of Black Hood be similar to his Golden Age counterpart or draw more from his later incarnations?
DS: I’ll be honest; when [Dark Circle Comics] editor (and fellow crime novelist) Alex Segura first approached me about The Black Hood, I had a queasy feeling. Did I really want to do another superhero title? I didn’t know the character at all, but the sight of the man in his Golden Age version of Spanx didn’t fill me with enthusiasm. At the same time, I happened to be kicking around an idea for a “good-cop-gone-bad” novel idea. So I channeled my inner Jim Thompson and pitched Alex the darkest, most violent and depressing Black Hood pitch I could think of, figuring he’d pat me on the head, thank me for my time, and move on to somebody else. But the joke was on me, because he liked it. Not only that — but Alex and co-editor Paul Kaminski asked me to go even *darker.*
HF: Greg Hettinger is the main character, but can you tell us a little more about his supporting cast? The villains?
DS: Greg’s a loner, but there are a few people who try to drag him back towards the light. One is his cop partner, who suspects Greg’s in some kind of trouble, but is hesitant to cross that line and outright accuse him of anything. The other is his speech therapist, who considers Greg a hero and seems to actually have a crush on him, despite the fact that he looks like Liam Neeson in Darkman.
As for villains… well, there is a Big Bad. But I’d rather that he introduce himself. You actually see him in issue #1, but I won’t say where...
HF: Any chance we’ll be seeing Black Hood’s team, The Mighty Crusaders?
DS: Zero chance. Then again, it might be fun to introduce a crazy right-wing do-gooder group who call themselves “The Mighty Crusaders” and try to clean up Philly through extreme gentrification. Thanks for the future villain idea, Donna!
HF: Why choose Philadelphia as the setting?
DS: I’m a Philly boy, born and raised, and this is where my imagination goes to play. Besides, my city’s way under-used in comics, TV and film. The best Philly character in recent memory — the one character I recognize as truly being from this town, and of this town — is Breaking Bad’s Mike Ehrmantraut. He’s a bad-ass straight out of the Frank Rizzo years, and I can’t wait to see more of him in “Better Call Saul.” (And I keep praying that somebody will license the character for comics, so that I can pitch my “early Mike” series: No Half Measures.)
HF: Black Hood is part of Archie’s new Dark Circle imprint. Exactly how dark are talking about here?
DS: The first issue will make Archie Andrews curl up into a little ball and cry.
HF: You’ve written crime fiction as well as graphic novels for years now. Is there a big difference between writing novels and comic books?
DS: Novels are a marathon, while comic scripts are a sprint. With novels, you’re sitting at a desk, alone, going slightly crazy, for anywhere from six months to a year with zero feedback. Comic scripts are full-on collaborations, not only with your artist, but your editors and colorists and letterers and PR folks, etc. Writing comics reminds me of my days as a journalist, working on a staff of fun, smart people. Writing novels reminds me of being an awkward 15-year-old typing on a Commodore 64 in his bedroom, trying to be the next Stephen King. It’s very nice to be able to do both.
HF: What drew you to this particular comic?
DS: I probably answered this earlier, but I think it was mainly to frighten Alex Segura.
And we learn about a hint in issue one in who the big bad is. Interesting haha.