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I think that if we do the job correctly, that other creators will have a bit more access to using the Marvel cosmology in a way that is both more relatable and more mythological than what currently exists.
I obviously love that stuff, but it’s really hard for it to function in NYC unless you’re on Bleecker St., or you fall down a hole in Central Park, which rules it out for a good eighty percent of Marvel comics. And I always want things I love to be more popular and not less, so here we go.
You’ve mentioned that you want this to be a spectacle, and you’re someone who’s done more with the cosmology of the Marvel multiverse than probably anyone since Starlin. How hard do you have to work to not get lost in the breadth of this subject matter?
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Well, getting lost in the breadth of this stuff is kind of the point. I mean, it’s why I tell stories. I want them to be big and expansive and immersive and, like you said, a spectacle.
So, again, I want to get lost in it. The trick is getting everyone else to come along for the ride. That takes a certain amount of luck (telling the right story at the right time), but it also takes a perfect entry (or reentry) point for the audience. It’s one of the reasons we did such a big first issue.
Which of the abstract entities were you most excited to play with, and which one was the most frustrating to translate into this story?
