I enjoyed trying to come up with something that looked like they were fighting inside an engine. For example, I know this is somewhat further afield, but if you go back to when we did "Reign of the Supermen," and then at the conclusion in Superman #82, when we had what we were calling like Engine City, I had everybody plowing through all these gears and cranes and everything else. ![]() I'm one of the weird guys who likes drawing tech. What goes into your spaceship designs? I don't think that I've ever, outside of Henshaw's original rocket, seen you draw a "traditional" spacecraft. I think that's part of what really makes the character work. To watch them die over and over again, and recreating them so you push that evolutions progress along at a much faster rate - I think the kind of mind that would engineer something like that is something that is worth exploring, and I think it is also something that has helped make Doomsday's origin unique. At the same time, I think the downside to not working with it more is when you really get down to it, there is something rather horrific, I think, about taking a creature and trying to cultivate something that can evolve to face whatever the obstacle is on a much quicker rate. ![]() I understand that they had to take a bit of a different approach. Obviously if you really start to show it, this becomes 15 minutes of the film. I certainly understood in the Batman v Superman film why they had to change the Doomsday origin to something that involved Luthor for the economy of storytelling. Is it a little weird that the idea of Doomsday being a Kryptonian cloning experiment has been so embraced by outside media, but we've never actually seen Bertron?Ī little bit. I want it to be in this format." DC was more than willing to have that conversation and say, "Yeah, by all means, let's go ahead and do this." I think it was something that as I started to put together an origin for Doomsday, I think when I first started talking about it, it was me saying, "I want to do it in this format. Was there ever the idea that this would just be part of your monthly Superman? Or was it always, "No, this going to be a standalone Prestige book." ![]() It is something you could do in a format that might not have flown in a newsstand comic that we would have been submitting to the Comics Code Authority, if anybody even remembers what that is. I think you saw that with Dark Knight when Frank Miller did that, that we obviously saw women with exposed breasts, and swastikas on their nipples, for example. Because of that, it gave us that leeway just to elevate some of that content a little bit. It'd be 48 pages without ads, a square bound thing. I think if we explain - because it's somewhat a format we haven't seen in a long time, and I've always thought hands down, this was my favorite format to work in - back then we called it the Prestige format. Did they give you a little bit more leeway because of the fact that this was a Prestige project coming off of The Death and Return of Superman? One other thing that struck me real early on is the amount of blood. I've always thought that that is the kind of thing that works well, and helps to ground Superman in the process. I have always tried to approach Clark from a human point of view, which is what I think ultimately makes Superman that much more relatable, and in a way, that much stronger. That's why we can always relate to that there is always that echo of something in the night. Everybody has something that they're afraid of. I think that was really the point of what we were going for there, is this idea that I don't care who you are - I don't care if you're Superman, I don't care if you're the world's toughest guy, I don't care if you're the toughest six year old that might be around. The second part of it is, I think that one of the things, if you look back on how I always approached Clark, I always tried to make him as human as I possibly could. ![]() Look, I think first of all, I'll say it, it's in continuity, so there.
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