I made a posting today on the “Captain Marvel” thread addressing various comments/criticisms I’ve heard on both CM and also on “Fallen Angel.” Since I don’t want the thread to go too off track, I’d appreciate anyone wanting to reply to that posting it here instead since it addresses things in a more general fashion, while the CM thread remains for issue-specific comments.
PAD
• 
Peter,
I like some of your work (comics and novels). Some of your work is, to me, simply fantastic. Some of it is good. And I don’t like some of it at all.
I guess I’ve always thought that what I like and don’t like says at least as much about me as it does about the works themselves. For example, after about 12 issues, I lost interest in Supergirl. I didn’t think that meant the comic was bad or that you “had lost it”–it had just stopped working for me.
I know you’re smart enough to understand this, but I thought it might be nice to have another person saying it.
Lastly, I think it is fantastic that you work so hard to listen to the concerns of fans. It’s too bad that this simply encourages some people to see this as another opportunity to attack you.
Keep up the good work (even the things I don’t like).
Time zones are funny things, you know. Here I am reading this wondering why there’s only one comment posted when the entry was posted sometime around 10:30 this morning and now it’s 7:20 in the evening. Then I remember, well, duh, I’m in a different time zone. Eight hours ahead of the East Coast (Nine hours ahead of my home in the Midwest). Silly me. Almost forgot where I was for a moment. Thank-you for jerking me back to reality and reminding me that I’m stuck in the middle of the desert!
PS Saw your picture on the dust jacket of one of your books, and let me tell you, PAD, you are one goofy looking guy.
This was actually written by Thomas Reed on the other thread, but I moved it over here.
Mr. D., I have problems with “Fallen Angel,”; but not enough to stop me from buying it every month. It IS unlike everything else you’ve ever done, which makes it valuable to a student of authorship. “What is David showing us about his attitude towards life that he couldn’t do elsewhere?”
While I think you’re right about people’s problems with “Fallen Angel”;’s morality – it being grey rather than black and white – there’s an important concept that you’ve danced around. It’s been present in hard-boiled detective stories, even those with greyish moralities. It’s the concept of The Line.
Where does the line exist? When it is crossed, can you go back again? Maybe it’s fair to steal a loaf of bread to feed a hungry child, and it’s not fair to steal a child to feed a hungry alligator. But is it fair to have a hungry alligator in the first place, knowing that a child might fall into it – or that you might have to feed it children to keep it from eating you?
For example, what the Fallen Angel did in the current book is, IMHO, crossing the line. (I’m being vague for those who haven’t read the book yet, without those stupid spoiler spaces that won’t work on this software anyhow.) She had no call to do that, without someone’s life immediately being on the line, and without such an overriding reason, she looked like she was indulging in sadism. Having crossed that line, is she now on that metaphorical slippery slope from which she can’t climb back?
This wouldn’t matter in a series like, say, “Powers,”; where the writer is examining similar questions – but can’t resist cheap gross-outs or tittilation, and who answers his reader’s letters like a road-show Don Rickles. But your work shows that it does matter to you, Mr. David. You’ve always talked about morality, responsibility and the like in your work, and The Line is an important expression of that.
After all, there are lots of comics – many with “adult only”; labels – that deny that The Line matters. You think it does matter, but you haven’t gotten around to declaring The Line to be the overriding theme of “Fallen Angel.”; At least yet.
Mr David:
Captain Marvel: For me its not about the “insane” storyline, it’s just that its feels like its just taking so long (like too many of Marvel’s books.) I think its an interesting take on the character, especially when you established that the Cosmic Awareness was a huge part of it. But I dont’ know what the heck-o-saraus to say about the Moondragon/Marlo thing. (I wish Marvel had let you keep her a “høøkër with the heart of gold” back in Hulk. it would have made her a more interesting character.) But since we are all “spice channel” with Moonies and Marlo, I don’t know what to think anymore.
Fallen Angel: Don’t change a word, because this book is the White Heat/Angels With Dirty Faces of comics. The current issue was amazing stuff, and I am sticking around to find out where things are going next. The book works, the characters work, the stories work and I like the fact that the main character is not pure and sweet and all sugar and spice. I just hope we get a cool back story in and around issue 50.
I enjoy both book, but in the end I’m only a fan. You have to do the hard work and come up with the stories and maintain the concept. All I can do is buy them and complain when I don’t like something and feel that fresh feeling of pleasure when things are cool. So I feel my opinion only counts but so much because I get to do the easy part, buy them and read them. Well its a little more work if you count poly baging them. Keep going, you’re doing better then I ever could. I think I’d end up like John Byrne: yelling at fans on my webside when they complained I mispelled “Mispell.”
Oh, and no matter what – I REALLY miss you on Hulk. (I had to throw that in.)
After all, there are lots of comics – many with “adult only”; labels – that deny that The Line matters. You think it does matter, but you haven’t gotten around to declaring The Line to be the overriding theme of “Fallen Angel.”; At least yet.
That is exactly the theme of the current storyline.
In the Angel’s mind, because Mariah is a murderer, a kidnapper and worse (as we shall see), Mariah is less than human and can be treated in any way the Angel finds expedient.
It’s a mindset that justifies every crappy thing that people have done to each other throughout history. And the “good” or “bad” of it depends entirely upon whose side you’re on. It’s the oldest excuse in the world: The end justifies the means.
The thing that makes this story different than anything I’ve ever written is that it is, in fact, not remotely about the object that the Angel is trying to obtain (the Shard.) It is, instead, entirely about *how* she goes about getting it, the moral ramifications of it, and how she’s then made to deal with them. Which is, I guess, “the Line” that you were referring to.
To my mind, the greatest irony of the story comes with Lee’s heart-to-heart discussion about the nature of good and evil in issue #10…which she has with Dolf, whom most readers firmly believe is actually Adolf Hitler.
PAD
For what it’s worth, I think “Fallen Angel” is one of the most powerful books on the market today. It’s engrossing and very disturbing to read–it provokes a reaction every single time.
The last time I had this sort of reaction to a comic was the early days of “Hellblazer”. I can see a number of similarities between Lee and Constantine. Heaven help us if they ever meet…
And if fanboys scream and yell because there isn’t a continuity tie to a previously-written character…their loss. They probably wouldn’t get the point anyway.
JSM
I love where Fallen Angel is going. I love the ambiguity, I love the fact that these issues are discussed and maybe dealt with in a medium where this kind of moral blurring of the lines is done all the time. Dressing up in tights and pounding on people is not cool, no matter who you are.
That Fallen Angel has this kind of subtext makes it that much more enjoyable to me. The fact that it carries a “Mature Readers” label gives me the impression that these issues can be dealt with in their extremes, and we can get to the meat of the issue without dancing around something that could be considered offensive.
Life always has the potential to be offensive, and it doesn’t come with a mature readers label.
I have faith in your writing abilities Peter, that even without the Mature Readers label you would make this series work. I don’t think you’ll use it as crutch to be “filthy” or “offensive.” That’s never struck me as your style.
I just hope that the sales, the readership, and the label allows you to write the story as clearly as you see it in your head, because I really dig what I’ve seen thus far. A couple weeks back I dug out issues 1-7 and reread them back to back and I enjoyed the series even more. Sometimes I forget to go back and do a deeper reading of stuff (as my lunch hour on Wednesdays is for reading comics), and frankly, there’s not that much stuff that is helped by a second look.
Thanks for writing…
Going off topic, perhaps, but I have come to the conclusion that these two books would fair much better if they switched publishers.
What do I mean?
Take DC for example. DCU is very iconic. It seems to me that having the iconic hero be there is much more important than who that hero is. For example, we have seen the torch past for Wonder Woman, Green Lantern, Flash, etc etc with little or no complaints(current gl being an exception).
However, could you imagine anyone else being Spider-Man? Reed Richards? The Thing? Hulk? No. Because in Marvel who the hero is as a person is more important than what they are.
So where am I going with this?
I think that Marvel fans have a harder time excepting torch passing like we have seen with Captain Marvel. They don’t see the hero Captain Marvel but see his replacement.
And while DC fans are very good at allowing new versions of their heros they are terrible at accepting new ones. They like to hold on to what heros they have and are very skeptical when it comes to new ones. Look at The Power Company. Many thought it was a great book but it wasn’t given the time of day by hardcore DC Fans.
On the other hand Marvel fans are more willing to accept new characters. Look at Thunderbolts. Before fans knew who they wer they were digging this new team.
I love both books and I tell everyone I know who likes comics about them but my friends all seem to be either DC or Marvel. Does what I say make any sense? Is this just the ramblings of a stressed out father who has been up most of the night with 3 week old baby? Perhaps. Oh well, I’ll stop now while I’m ahead.
I like Captain Marvel, but I do feel the insanity story seems to be dragging. I expect that when you do resolve it, its going to be a big pay off! Much worth the wait….OH…and I love Moondragon and Marlo. I find it interesting that first Moondragon runs off with Hellcat(Patsy) and now Marlo…she has something for Red Heads!! Barbra Gordon better watch out!
Peter,
I read comics mostly based off of the author. I didn’t discover your work until recently. I think the first thing that I knew you wrote was the 2099 Captain Marvel story, which I picked up strictly because I loved the Spidey 2099 back in the day. Then I found out that you wrote tons of stuff that I always liked: those B5 episodes, Trancers 4 and 5 (not sure qhy I always liked those), and Spidey 2099. So I started picking up Young Justice (around issue 35 or so) and Supergirl (at issue 75). I easily got the backissues for YJ on eBay, but I’ve spent the better part of a year searching for Supergirl backissues (I got a *ton* of them at Wizard World Dallas, as well as my missing issues of the last Captain Marvel). Anyways, long story for saying I’m a big fan of your stuff, and will probably pick up most things with your name attatched.
The first six issues of the new Captian Marvel series were great. I dig CrissCross’s work. I enjoy the series on a monthly basis, though, despite who the artist is (Cross worked without ink, but most artists don’t. Michael Ryan did. Kyle Holtz didn’t. It’s a hit and miss thing, I think.) But I really have no deep emotional attatchment to the character (I was a DC kid). But it’s a great story, whether I know the character (or the mantel) or not.
It’s a shame about the Dreamwave TMNT book. Hopefully they’ll start it up again, because it was great, especailly the issues that weren’t based off of an episode of the show.
Fallen Angel #7 placed the book on my “If I could only buy one book a month, this would be it” list (although, I guess it’s not really a list). I love it, even if it’s not connected to Supergirl. Haven’t read #8 yet, but I will when I get home tonight, most likely.
Young Justice was one of my favorite books. While I enjoy Geoff Johns’s Teen Titans book, it’s not on the same level. YJ was a comedy, TT is teen angnst. Which is fine. I love teen angnst. But the fact that they did this switch based solely on the fact that there was a new animated series coming out boggles me to no end, especially as the new show is aimed towards six year olds (I do enjoy it myself, on occasion, though).
With Supergirl, I love what I’ve read, which isn’t the whole series, but smatterings throughout. I don’t get DC’s treatment of this character, though (whether it’s Kara, Linda, or *shudder* Cir-El). The fact that she’s coming back in Superman/Batman confuses me even more. If that version is Kara, that’s cool. If Lee is some version of Linda, even cooler. Stuff happens in comics, but it’s all about the story.
This was just me ranting (and slacking off at work). I want to write (well, I do write, but you know what I mean), so I know how it feels to be your own harshest critic.
–Alan
See, that’s what really kills me. I see two comments recurring: “Gee, I no longer like the ‘Marv’s insane’ storyline” and “Gee, I liked the book much better when Cross was drawing it.” No one seems to twig to the obvious: That they *would* like the story if Cross were still drawing it. The story worked as well as it did because of all the stuff Cross brought to it (particularly since his uninked pencils looked so good under Soto’s coloring) and because I tailored it to his artistic strengths. Without him–and with round robin artists–it’s far more problematic to do a story that hinges so much on the subtleties that only Cross could convey (or at least make work uninked under Soto’s colors.)
OoooooKay. So you’re saying it’s the director (artist) that makes the story good, not the screenwriter (writer)? So how closely does a comic book artist have to stick to what’s written?
As for that ambiguous Line, it really depends on who’s reading the story. Kind of like Pat Robertson being all for the death penalty when applied to male serial killers but balking when the serial killer is a woman. As for me, I don’t draw that distinction, but I might have a problem with applying it to a sixteen year old.
Or the now infamous Superbowl incident. Would even the people defending Janet still be defending her if she and Justin both got naked and started simulating sex? After all, if the whole justification is to go for the shock value, and free speech, what’s the difference?
OoooooKay. So you’re saying it’s the director (artist) that makes the story good, not the screenwriter (writer)? So how closely does a comic book artist have to stick to what’s written?
No, you’re still not getting it. I’m saying that if you don’t have a good match of artist to writer, then it doesn’t matter how good the story is, it won’t reach its full potential. Let me put it to you this way: Over the past twenty years, I’ve written stories which, once I saw them in print, *I* didn’t know what was going on. The script was clear. The instructions were clear. But the artist either wasn’t capable or drew something other than what was there.
People talked about how much Cross improved over time. There was improvement by Cross, yes. But I also learned which things to stay away from, and in places where I was concerned there might still be confusion, I made sure to include dialogue or captions that would make the sequences bulletproof.
That’s not unique to Cross. Artists have strengths and weaknesses. So do writers. I can only think of a handful of artists I’ve worked with whom I felt I could toss anything at, and they could handle it no problem.
Or the now infamous Superbowl incident. Would even the people defending Janet still be defending her if she and Justin both got naked and started simulating sex? After all, if the whole justification is to go for the shock value, and free speech, what’s the difference
No, I think the whole justification is that it’s fundamental hypocrisy for viewers who spend three hours having no problem watching an incredibly violent passtime with a vaguely homoerotic subtext (“Here, man in incredibly tight pants, let me reach between your legs with my head up your ášš and grab your ball”), peppered with commercials and entertainment featuring flatulance and sex-based advertising, to suddenly start screaming, “Oh my God, think of the children!” when a woman’s breast is exposed in a far camera shot for two seconds. Not to mention that they KEEP TALKING ABOUT IT FOR WEEKS and now want to LAUNCH GOVERNMENT INVESTIGATIONS, for Chrissake, into something that Paul Kupperberg quite rightly labeled as “A tempest in a B-cup.”
Which I guess would mean that I’m defending Janet Jackson, so the answer to your question would be that my basis for defending her is saying, “Cripes, people, an undergarment fell off and her breast was exposed. It’s not like they both got naked and started simulating sex.”
I don’t think he’s saying that an artist is the only thing that makes the work good. It’s in the nature of collaboration; if one part is off, the whole suffers. Especially if one part isn’t working to their strengths. (It’s like William Goldman said, when discussing the issue of great actors: “I probably don’t want to watch Schwarzenegger’s Hamlet, but I know I don’t want to watch Olivier’s Terminator.” [Paraphrased from memory.])
Also, the reaction to art that the reader doesn’t like is a lot more immediate and visceral than the reaction to writing. It can be overcome if the reader likes the writing, but it’s starting out with a strike against it. In this case, while opinions have varied widely, I don’t think anyone has said they like any of the later artists better than ChrisCross, so it’s a reasonable jump that people would like the overall effect better with his art.
What i think Peter is saying is, it’s all about the delivery. My dad knows a good joke, but can’t effectively tell one to save his life. His delivery is off and he kills the joke everytime.
Now, with the delivery in a comic, a huge portion of the burden is on the artist. The most recent artist on CM (i’m blanking on his name, but he has a photo-referencey Tony Harris/Michael Gaydos style), was a very good artist, but to me, his psuedo-realism killed the emotion of Peter’s story. It slowed it down.
I hear some people commenting that the “insanity” story is going on too long. But to me it almost seems to be jumping around…an almost jarring experience (although I think it fits with this storyline). It’s the art that was slowing the pace for me.
An artist that could better convey the absurdist nature of these stories would be a better fit. A better delivery. I think Chris Cross, his sometimes confusing compositions aside, did a really good job with this. That said,so did Lopresti in the most recent issue (although the artist that did this the bet so far in my opinion was Mike Ryan…not to mention he draws better tech & aliens than anyone on the book so far).
A lot of Peter’s characters’ meanings seem to get lost with certain artists. And much of that can be attributed to how an artist has his characters “act”. Body language/posture and facial expressions in and of themselves can kill a comic story (hëll, a movie for that matter). Good acting draws you into a comic as much as in a movie. I think the majority of PAD’s stories need a Kevin MacGuire-like level of acting on the part of the characters in the art. Todd Nauck, whether you liked his drawing style or not (i’m iffy on it) did a wonderful job of making his characters “act”, and really brought PAD’s Young Justice stories to life. Jim Lee’s expressionless characters would kill a PAD story (although we’d all buy it anyway, I bet).
It’s not that the artist’s contribution is more important overall, but as the main conduit
from the author’s mind to the reader’s eyes, that contribution can make or break your enjoyment of a comicbook tale.
Seeing as you’re responding in this section I’ll ask this here; what’s up with the Kree?
I realized that my frequent questioning of the change boils down to this; what this a decision on your part, or was this mandated by Marvel as in “the R’uul thing didn’t work the way we wanted’?
David
I agree with wolfe about the “character acting”. Another great artist who I thought suited well to Peter’s stories was Leonard Kirk. So I’m glad that both of them work together on the Dreamwave miniseries “Glory B”.
Peter – You told us some time ago that Glory B will be released in April? Was it pushed back? I’m just curious, because I haven’t heard any news on this exciting project.
I do
Off topic, I know, but my favorite reference to the Janet Jackson thing was on the Daily Show – they called it “the Teat Offensive”
Re: the changing artists on Captain Marvel:
Hasn’t bothered me. If anything, it makes the book a little more unexpected each month, which is fun. And it also highlights the strengths of your writing; I can see the elements I enjoy consistently shine through regardless of the artist.
Re: Fallen Angel:
I confess that I had thought about dropping the book after #6. I didn’t understand the point of the monster storyline and felt it was resolved too pat, through (what appeared to be) a standard fight. I’ve been reading the book with an eye toward the subtext that you hint at, and occasionally I caught snippets, but it hasn’t yet come together for me in a coherent way. Either it’s too mysterious, or I’m just not smart enough to get it 😉
But I picked up #7 (as you know since I brought it to the Oceanside Library), and I enjoyed it, so Fallen Angel is still on my pull list. I’m excited about your evaluation of this storyline, since, as you note, you are known more for self-deprecation than self-promotion 😉
Fallen Angel #7 placed the book on my “If I could only buy one book a month, this would be it” list (although, I guess it’s not really a list). I love it, even if it’s not connected to Supergirl. Haven’t read #8 yet, but I will when I get home tonight, most likely.
#8 is out? (Forgive an ignorant non-comics person who only reads Fallen Angel and who only does it because it’s PAD and because it’s good.)
Carrie
Probably read all of Peter’s work for the last couple decades. Won’t be buying Fallen Angel anymore. Too depressing, dark, and a downer. “i liked your earlier films; especially the funny one, Woody”.
I know you know what I mean, Peter. Best of luck to you on this; it’s just not for me right now. I’ll still be reading all you other dumb stuff.
Not Harlan.
Mr. David,
I hadn’t realized that I was so alone in my ability to see Dolf as someone other than Adolf Hitler. It doesn’t seem too much of a leap to see that a guy might try to capitalize on the myth of Hitler and call his bar Furer’s and himself Dolf. I’ve wondered if he’s meant to be Hitler’s ghost or some-such on occasion, but most of the time I just think he’s an old guy trying to cash in on Hitlermania, since his bar is open at night and the bad elements really come out at night in Bete Noir.
But then, I never was concerned about the alledged Linda Danvers/Lee connection either. Well, it’s just to the loss of everyone who insists on looking at Fallen Angel through that lens. If you look at the characters as individuals who are distinct from these “corrollaries,” I think the series is much better. The people who can’t make this distinction are stuck saying, “Ewwww, Supergirl is working with Hitler and she’s bøffìņg the Kingpin.” However, I expect that any of the people who can’t seperate Lee from the idea of Linda Danvers left will be dropping the book after #8, so maybe we’ll hear less of this.
I eagerly await the opprotunity to find out more about Lee, Dolf, Juris, and (now) Mariah. I’ll be back at the stands looking for Fallen Angel next month.
Never read it, not a fan.
SEAN
(Hopes people will get the reference and not think I’m a jerk)
PAD, here’s my 2 cents (well maybe a dime by the time I’m done) since Captain Marvel isn’t getting my $2.99 anymore. First, I was tired of the “insane” storyline. How long has it been going on? Since the re-launch and I read until #18 and it still wasn’t 100% resolved. I expect a certain story when I pick up Captain Marvel, much like when you walk into a James Bond film, certain core elements should be present to make it a James Bond film even with different actors or directors. Got to have the villain, the gadgets and the girl or it’s not 007. Same thing with CM, and I felt the “insane’ storyline wasn’t the same film I walked into, so I left the theater.
On another note, Frank Miller’s response to fans that would state “I only read (fill in comic company here) comics”, would akin that to someone saying “I only go to Paramount movies” (the quotes may not be exact). Now I think Marvel is more like watching a foreign film. PAD can you comment on what Marvel mandates if anything on story content or length? It is rare if not non-existent for a stand alone story in their books, they had one I remember for the newest solicited books being Elektra, but it ended up being the last issue for that book. Do they require stories to carry on X number of issues? Do they require the characters “out of costume” a certain percentage of time? (this issue Captain America as Steve Rogers stands around a lot, a must see issue) I wouldn’t think this would be an issue, but it seems that way with many of their books.
The other beef I have is the covers; I know you can’t judge a book by its cover, but their books it’s getting plain old silly. Covers generally are pin-ups of the characters from waist up or full figure, team books have shots of team rushing at you or just one character again from waist up or full figure. Never have a scene from the book on the cover, and if it’s a female character she needs to look as if she “wants it”…sigh.
I expect a certain story when I pick up Captain Marvel, much like when you walk into a James Bond film, certain core elements should be present to make it a James Bond film even with different actors or directors.
Okay, I’m not trying to be a dìçk here, but I really just don’t understand that reasoning. I mean, sure, maybe with Batman or Spider-Man I could maybe go with that, but Captain Marvel? How is there an expectation for *Captain Marvel*? I just don’t get it.
Granted, with some characters you expect a certain style of story (like the aforementioned examples: it’d be weird seeing either character in deep space fighting hordes of aliens, or taking over a small country, or running for congress, etc), but more often than not, I have one expectation for every character (and comic): that it be good.
I can understand writers frustrations sometimes when they try something new and people go “Hey, the Hulk should be rampaging/Supergirl should be from Krypton/Wolverine should be fighting ninjas in spandex.”
I understand the James Bond example, being a big Bond fan myself. Sure there are things we *expect* from a Bond film that make it cool for a couple of hours, but stretching the formula, trying something new every now and again would kill the franchise, would it?
I know this topic of discussion has been almost beaten to death, but why are superhero fans so afraid of change, when change is a basic, fundamental aspect of a good story, especially an episodic serial?
Haven’t really had problems with the pencillers on CM, but I do have a problem with how Sotomayor’s computer rendering work either obliterates (most of the time) or clashes horribly with the pencils. While not the murky mess of some computer colorists’ work, it’s too strong and too “3-D Rendered” looking.
—Dave
How is there an expectation for *Captain Marvel*? I just don’t get it.
Well, maybe it’s what I don’t expect would have been better. I don’t expect insanity for better part of a year. I also do expect Rick Jones to bang the bands together, Cap to shoot an energy blast, and take on a tyrant or space armada once in a while, right a wrong or just have a different feel than it did. I don’t know if I can put my finger on it, but it wasn’t happening for me. No not just the art.
why are superhero fans so afraid of change, when change is a basic, fundamental aspect of a good story, especially an episodic serial?
Change is fine, but I felt the change happen and then the wheels started spinning and we weren’t going anywhere, and just kept re-enforcing that he was insane. I didn’t care for the change and was waiting for a possible pay-off, when I didn’t get one I made the change from buying the book to not. See I like change fine.
Oh, and having a different opinion doesn’t make you a dìçk. I won’t go crying to PAD that you don’t like my view.
I haven’t read the latest issue of Fallen Angel yet, but the ending of the previous issue made me uneasy, because I knew Lee was skirting The Line(tm) with her actions. Hearing that the new issue has her (apparently) doing a fandango over it tells me I should gird myself for when I actually read the darn thing.
Even so, I don’t expect it will turn me off the character or the title. I have enough faith in Peter David’s writing that I know he’s got a moral to his stories(*), and that just because it’s not spelled out in this issue doesn’t mean it won’t be made clear in the next. This isn’t a done-in-one, after all; there’s no point in stepping out of a movie halfway through because the story arc has taken a turn for the worse.
(* = I still haven’t read the Sir Apropros of Nothing novels, so I’m not sure if it’s a cesspool of immorality or not, so if I’m proven wrong about Peter’s morals, it’d probably be in there… though I doubt it. 🙂
In short, to paraphrase Crush the sea turtle from Finding Nemo: “Whoa, whoa, kill the motor, dude — let’s see what PAD does, flying solo…”
On the other hand, you seem to have nailed this Joan of Arcadia thing early with your Supergirl stories. Too good, too soon, eh?
Best
I hope PAD isn’t too concerned with feedback. He’s the writer, after all. If he wants CM to be insane for another five years, then I say go for it. I’m not planning to stop reading any time soon. I just hope he doesn’t let a few complaints get in the way of telling a good story.
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