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Phil Hester talks with Corinna S. Bechko about Miss Fury #2, now on sale

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  • Phil Hester talks with Corinna S. Bechko about Miss Fury #2, now on sale

    Phil Hester, writer of Gold Key Alliance #2, talks with Corinna S. Bechko about Miss Fury #2, now on sale from Dynamite.

    PHIL HESTER: One of the things I admire most about your work is the sort of consistent humanist viewpoint you express. No matter how action-oriented or even brutally violent a story gets, I still sense your brand of rational altruism behind it. That's probably easier to do in a creator owned project, but maybe tougher with an established super-hero property like Miss Fury. Is that voice I'm sensing overtly intentional, or is it simply 'baked in' to your writing style?

    CORINNA S. BECHKO: This might be nicest question anyone has ever asked me! A lot of it is intentional, since, when writing someone heroic, I try to give them ideals that I would look up to. So thereís a bit of wish fulfillment there. But a lot of it is on a more macro level too. There are some properties and characters that I just canít connect with, so itís not fair for me to try to write them. That doesnít mean that theyíre bad, or that I donít approve of them, just that I couldnít do them justice or understand where theyíre coming from. Occasionally I have turned down jobs because of that, but Iíve been really fortunate in that a lot of what comes my way suits my world-view, and I think that makes my job a lot easier.

    PH: How important was it for you to pay homage to the work of Tarpť Mills with this series? Of course, the character wouldn't exist without her, but were there any specific themes in her work you wanted to express, or conversely, shy away from?

    CSB: I really did want to honor her and her creation, but I also wanted to make certain I was doing something different enough that I wasnít just aping her writing style. And so I thought a lot about the ground she broke with Miss Fury, and her approach to the character, as well as what it must have been like for her to be a working, creative woman in a time when that wasnít the easiest thing to be. With all that in mind I decided to make Marla (Miss Fury) a working, creative woman as well as a superhero, and set her story during WWII. Hopefully this choice shows a little of what Mills had to deal with, even though the flavor and intent of my take is quite different from what Mills did with her original telling. I also made sure to put a few touches in that I think Mills would approve of, like a cameo by Peri-Purr, Millsí real life cat whom she put into several Miss Fury scenes. A lot has changed in the decades since Miss Fury was originally published, but writing a comic while a cat watches seems to be something both Mills and I have in common.

    PH: I've worked with Jonathan Lau myself and found his gift for kinetic storytelling dazzling. It really shows in this book when Miss Fury starts Fury-ing. She becomes an almost demonic dervish. Do you make it a point to write scenes allowing Jonathan to flash those chops?

    CSB: When I wrote the first script, I wasnít certain who would be drawing it, so I just hoped really hard that it would be someone who could handle the action. When I found out it was Lau, I was thrilled! He is really killing it, getting the action just right and upping the weird quotient when called for to a wonderful extent. Itís a great feeling to work with someone like him, since I quickly realized he would improve anything I came up with.

    PH: Writing period pieces can be tough. Sometimes you can go so far down the research rabbit hole you dredge up historic details in dialogue or setting that are accurate to the period but would be lost on all but the most learned modern readers. How do you handle this?

    CSB: I relate so much to this question that it kind of hurts. I am the president of that research rabbit hole! Sometimes it pays off though. I now know a lot about the development of drafting dots and when the first ballpoint pen was manufactured. I can retire on that, right? Seriously, though, I think this is a real liability for those of us who are interested in writing period pieces, and itís hard to not lose hours or days to the most minuscule detail. I can only imagine what artists go through, since they have to figure out even more of the texture of the worlds they create. My way of dealing with this is to set time limits. If I havenít figured out a detail within a reasonable span, I either figure out a way around it or else trade it for something that I do know. Of course this sounds good in theory, but in practice I still struggle with it, especially since I really like doing research and writing fiction set in the past.

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    Last edited by Brandon Primavera; 05-13-2016, 10:16 AM.

  • #2
    Not that it matters much here, but those pages are not from the most recent issue of Miss fury. They're from the first volume.