Superman's Busiek & Johns on One Year Later: 'Can't tell you!'

By John Hays

This March, DC will unveil its One Year Later titles, with all new creative teams and bold new directions. For Superman, this means the pairing of two heavy hitters in the world of comics, Geoff Johns and Kurt Busiek. Both of these men have made their mark in the comics industry, on such projects as JLA/Avengers, Infinite Crisis, and much more. Now they team up to once again redefine the Man of Steel for a new generation with their story, Up, Up, and Away, which runs through both Superman and Action Comics from March until June.

I wanted to get an early feel for the story, as well as find out more about the latest trend for DC of co-writing comics, so I decided to get in touch with Geoff and Kurt and ask them a few questions.

John Hays: It appears that Superman will be leading the way coming out of the gate of One Year Later in terms of creative talent. How did the team-up of Busiek and Johns on Superman and Action come about?

Kurt Busiek: I can't tell you! Or, well, to put it another way: Matt Idelson asked us to co-write "Up, Up and Away." But that's not much, is it? I can say that I was eager to collaborate with Geoff -- I like the way he paces a story, and layers in character drama and action, and I figure I'll learn something along the way.

Geoff Johns: I was very excited to get to work with Kurt on the first superhero ever created. SUPERMAN: THE MOVIE has always been my favorite film and I think the heroic and emotional elements in that are what Kurt best taps into with books like ASTRO CITY and THUNDERBOLTS. I was anxious to work with a writer who I respected and admired. Matt Idelson and Nachie Castro have been amazing to work with.

JH: I think fans are very excited to read something written by the two of you. There seems to be a trend toward co-written comics these days (Geoff, Grant Morrison, Greg Rucka, Mark Waid, and Keith Giffen on 52, Geoff and Allan Heinberg on JLA, Geoff and Kurt on Superman/Action), as opposed to the more traditional hand-off team-up of "I'll write the Superman part of the story, while you write the Action Comics part."

Can you explain the process of co-writing a comic, and the advantages/disadvantages over the hand-off method? For instance, I would imagine that it could make for more realistic conversations if each character were represented by their own individual writer. (Could you imagine a big 7 JLA meeting where Kyle is being written by Ron Marz, Superman by John Byrne, Batman by Frank Miller, etc...?)

KB: I think doing it that way would take an awfully long time. But since we were lucky enough to get an artist, Pete Woods, who could draw all eight parts, it seemed like it made the most sense to use the same working method on all eight issues, to make it all read as one work, rather than having it shift from one writer's voice to another every chapter.

GJ: I love co-writing. It’s a blast to sit in a room or talk over dinner or just throw around ideas with another writer. It’s the best thing in the world if you’re working with someone you really gel with creatively and personally. I’ve been very lucky working with Goyer, Robinson, Grant, Mark, Greg, Keith, Allan and now Kurt. I’ve learned things from every one of them and I consider every one a good friend. It also helps break up the silence. I’m a people person; I like to hang out and talk. Sitting in a room writing all day is great, but not for twenty days in a row.

JH: Yeah, I imagine that would get monotonous.

KB: So, the way we're doing it is this: Geoff came up here in early September and stayed in my guest room for a few days, while we hashed out the whole story, worked out new villains, character arcs, big battles and more, and outlined the whole shebang at once. Plus we got to spend some time with Pete, who lives near here, and talk over the story and our approach with him.

JH: That’s convenient.

GJ: It was, because Kurt and his family graciously let me stay there, and we’d barely met. They’ve got a beautiful house and I was in the guest room. So we spent the days and nights working on the story.

KB: From there, Geoff breaks each issue down into a plot, typing up a panel-by-panel description. I mess with that, screwing it all up, and we fight over it. Well, not so much -- in the first issue, for example, I wound up trimming one scene, expanding another and adding a page and Geoff seemed to like it fine. Pete draws from that finished plot, and then I write dialogue to fit what Pete's drawn, and Geoff messes with that, screwing it all up, and we fight over it. Or, more likely, Geoff improves it and I admire the result. And then we do it all over again, eight times.

JH: Sounds like fun. You must have very understanding spouses.

GJ: The best in the world.

JH: Is there anything different about writing Superman as opposed to any other character? Does the fact that he's seen as possibly the biggest character in comics cause you to take extra care in what you do with him creatively?

KB: That he's the biggest guy in comics makes it more of a thrill, but it's not like we're slopping out the other stuff any which way, you know? But there's something primal, something pure about Superman, and it's great to get to work with that.

GJ: He’s always been a favorite of mine and even more so after CRISIS. He’s the true man of ACTION in my mind. He’s good to the people who are good and incredibly tough on the people that aren’t. I’m a huge fan of all the classic stuff and also what John Byrne did with the Man of Steel, Dan Jurgens, Karl Kesel, Jeph Loeb, Joe Kelly, Joe Casey and especially Jerry Ordway. I think there have been some wonderful stories told over the years.

JH: It’s great to know you feel that way about him. Which version of Superman through the years (George Reeves, Christopher Reeve, Super Friends, and various comics’ incarnations) do you most often identify with the character, and does that have any effect on how you write him?


GJ: Well, SUPERMAN: THE MOVIE defines it for me, along with the comics and creators listed above. I remember Richard Donner, who I worked for for four years, told me about when he first took on the project. The script was very campy, there was even a Kojak appearance (another story for another time) and he went to the art department and told them to put signs up all over the production office that said “VERSIMILITUDE” which means truth. He wanted everyone to take this seriously. And not, obviously, making it an edgy drama but making the world real and Superman the only non-real thing in it. It had humor, heart, action, tragedy – I mean Lois Lane died in it, Pa Kent died – it’s full of human drama. A wonderful film.

KB: I've always been a big fan of the Superman stuff Cary Bates and Curt Swan did with Julie Schwartz. And there's something about Neal Adams's Superman, wherever he'd appear, that always clicked with me -- and to this day, I think SUPERMAN VS. MUHAMMAD ALI is one of the best Superman stories ever.

JH: Wow, Superman vs. Muhammad Ali. I didn’t see that one coming.

KB: So that stuff's in the mix of my personal Superman somewhere, along with Byrne and Ordway and Jurgens and all that have come since, and Edmond Hamilton and Jerry Siegel and all that's come before. I can't really say which bits are influential and which aren't -- it's all in there, and it all informs things.

GJ: I’m with Kurt. I could list creators and go on and on. I think Jeph Loeb and Tim Sale told one of the greatest stories ever with SUPERMAN FOR ALL SEASONS.

JH: Definitely a defining Superman story. So it’s sort of a fusion of various influences.

GJ: Yes, with our own ideas worked. There are a couple of specific things I don’t think they’ve ever really done before, something with his powers I’m very happy we cracked into.

JH: What's the premise behind the Up, Up, and Away storyline?

GJ: PREVIEWS already gives away too much. It’s hard in this day and age. I guess PREVIEWS has existed for so long now that I don’t remember what it was like to just pick up the book and be completely surprised. I first bought comics with no knowledge of anything. Just that they were out.

KB: It's One Year Later, and -- I can't tell you! Infinite Crisis Spoiler Police, Sharpshooter Division have me right in their crosshairs!

JH: Don’t worry; we have bullet proof glass in here.

KB: I can tell you that it's got a ton of villains, from Luthor to the Prankster, from Neutron to Bloodsport, and more. It's got new versions of old foes, including a new Kryptonite Man and a new Toyman. It's got completely new villains, like the all-new all-creepy Flea Circus. It's got Sunstone.

GJ: Sunstone…and Metallo and a deep secret that dates back to 1938…

JH: How about the supporting cast?

KB: It's got quiet time for Lois and Clark, grumpy time for Jimmy, happy time for Perry, bad time for Lex, superhero guest-stars and big, massive, city-busting action. It's got hot pretzels with mustard. But the premise? I can't tell you.

GJ: Because then we’d have to kill you.

JH: Very shrewd of you. Is this storyline anything like "The Death of Clark Kent" storyline from a few years ago when Clark was on the run from someone hunting him through all those close to him? The target on the cover of February's Action Comics along with the description made me think of a possible parallel. It might also be because I would love to see the return of Conduit.

KB: It's nothing like "The Death of Clark Kent." Though, poor Clark does end up in some severe physical jeopardy. And it is entirely, 100% Conduit-free. Sorry.

JH: Rats!

GJ: Yeah, it’s nothing like it…I’m not sure what it’s like…it’s different.

JH: I understand the need for secrecy surrounding Infinite Crisis. Can you tell us if this Superman is the same one that went into Infinite Crisis?

KB: I can't tell you!

GJ: He is Clark Kent. Does that help?

JH: I figured as much. How much has Superman changed from before Infinite Crisis to One Year Later, and in what ways?

KB: Ooh, good question. Can't tell you.

JH: Ooh, thought I had you there. Kurt, you mentioned online that Green Lantern would appear in the March issue of Action. Can you elaborate on his involvement? This seems like a perfect guest appearance, since Geoff is the current writer of Green Lantern.

KB: It is a perfect guest appearance, for just that reason. Plus, daring ring-slinging action over Metropolis, and a fateful choice. But more than that, I cannot tell you!

GJ: There’s a specific reason Green Lantern shows up.

JH: How about the art? That Superman cover is fantastic! How's the interior art coming along? Is Pete Woods' style similar to his work on Catwoman, or somewhat different?

KB: The interior art is dynamite. Wait until you see the Avenue of -- oops, I can't tell you that. And Pete's work is similar to his work on CATWOMAN…and…somewhat different!

GJ: Well, Pete did do a great job on the Avenue of Tomorrow. Which is a new area of Metropolis named for reasons different than you might think.

JH: What does that mean??

KB: You're just getting annoyed with us now, aren't you?

GJ: Sorry.

JH: Nah, I realize you have your limitations. By the way, the bullet proof glass? I lied. This storyline is broken down into eight parts over four months. Is it a coincidence that the final two parts come out in June when SUPERMAN RETURNS is set to be released?

KB: Peculiarly, yes. But it ought to work with the movie release really well, for reasons I can't tell you.

GJ: Tip of the iceberg…

JH: With the Super titles thinning, and this storyline being so long and running through the two main titles, does this point to the possible return of ongoing story arcs over both titles after you leave, as was the case a few years ago with the S shield numbering system?

KB: That'd be a question for Mirthful Matt Idelson, for I cannot tell you.

GJ: Yes, Matt is our leader.

JH: Note to self: Harass Idelson. Kurt, I've seen from some of your message board posts that your discussions with Geoff also involved possible future DC projects, anything you can comment on?

KB: I'm writing AQUAMAN as well, beginning that selfsame month, with the visual stylings of Mr. Jackson Guice making me look good.

JH: Ah yes, the entirely new Aquaman. That should be interesting. Kurt, any chance we'll be seeing more of Krona or the infant universe, either in this storyline or a future one? (Or in Infinite Crisis, perhaps?)

KB: I would like to do more with them someday. More than that -- I can't tell you!

JH: You fiend!

KB: I leave it to you to guess which stuff I can't tell you because I'm not allowed to, and which stuff I can't tell you because I don't have a clue. Kb

JH: I’m sure our readers will do their fair share of guessing in the forums. Thank you for your time, Kurt and Geoff.