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  1.  (8338.21)
    I never got who Jim Wilder's story is a parallel to.

    Leetle bit of Billy Batson in there, as I recall.

    Is there a clear major theme slash area of examination for issues twenty-five and twenty-six that anyone can see?

    At the end of the series, the comic finally becomes about this comic, not all comics. The great universal focusses all the way down to the personal.
  2.  (8338.22)
    Is that the real meaning of the "room at the bottom" realization at the shaman session? Take everything you've saved/collected/learned, go out and do something new and amazing?
  3.  (8338.23)
    I think any further comment on that score would count as authorial trespass.
    • CommentTimeDec 11th 2010
    speaking of authorial tresspass...
    I'm sure Warren has spoken elsewhere about the Constantine/Spider issue; Could someone point me to this?
    (To Warren: Thanks for the personal reply to previous query)
  4.  (8338.25)
    h-e, I can't point to somewhere online (and Warren's here to comment as he cares to), but I believe it was the artist's call and not something scripted.

    I always took Jim Wilder as a a mix of several orphan adventurers, including Billy Batson and Tintin.
  5.  (8338.26)
    I'm sure Warren has spoken elsewhere about the Constantine/Spider issue; Could someone point me to this?

    Short version: John and I had talked about "his version" of John Constantine, who would have a shaven head and weird tattoos and/or brands. When scripting that scene, I said, John, here you can do "your" Constantine/Jack Carter, but, you know, with the bald head and the tats, you could just make him Spider for laughs... Which was, you know, a joke. I was a little mortified when the finished comic came back with Jack AS Spider...!
  6.  (8338.27)
    Was the red and green tint motif (mostly skies, but also the tinted pages/panels) a reference to anything or just good for the atmosphere? I was associating the red skies and green tint with the Planet Fiction chapter, but it's in issues thirteen and sixteen, too, and elsewhere.
  7.  (8338.28)
    did David Baron pinch-hit those issues for Laura?
  8.  (8338.29)
    He's not credited in the trade, if he did work on thirteen and sixteen, though he is credited on nine. Maybe he started it and she continued it into the realm of motif, but it is effective. I'm a sucker for gels and filters, spot coloring, and I found the dissonance and juxtapositions more evocative than a naturalistic representation probably would have been.
  9.  (8338.30)
    I can't remember what's in those issues.