Welcome back to the Captain Marvel post-game, a feature where we'll be taking a deeper look at each issue of the hit new Marvel series by Kelly Sue DeConnick and Dexter Soy. This time around, DeConnick talks influences, legacy, and the glory of the Captain Marvel covers.
Tread carefully, there be spoilers for Captain Marvel #3 ahead.
Read our review of Captain Marvel #3!
But, [Steve] Wacker had just set up these first three and they were surprises to me. They are amazing. This one might be my favorite, I love that our names are on the bombs. I kinda want to make it my avatar, but there's a negative connotation out of context. You know, it's a bomb and it's heading downwards.
DeConnick: The Pursuit of Flight was kinda a placeholder title, but I forgot to change it, so now that's the name. My pitch document was called Pilot which I think was probably a better name for our opening arc. So, time travel was in the pitch right from the beginning. And then, seriously, like after I turned in the script for issue 5, Wacker was like “Yeah, I don't know if this time travel thing was a good idea.” But, I'm having fun, so it's good.
DeConnick: I really wanted to deal with this idea of legacy. I wanted to give her shoulders to stand on. Dexter [Soy] excels at this kind. Fight scenes are exactly the thing that he is really, really good at, so you should give him something that he is really, really good at.
I so fell in love with the lady Howling Commandos. The next issue opens with a big battle.
DeConnick: There's a certain amount of strategy here on her part. You'll see in #4, but there is an element of shock and awe here. The Banshees are barely out of childhood. Now, these women are made of gristle and guts, but there is a certain amount of bravado to it. A certain amount of selling it. It's like Tracy saying “maybe if you accomplish this, you're the best pilot of your generation.” Carol knows she's the best pilot of her generation. She's not the best girl pilot, she's the best pilot.
DeConnick: A lot of the early cartoonists were Jewish and they couldn't get mainstream illustration work in the ad houses often because they were discriminated against because of their religion. So, there's a little nod to that in the character of Rivka. It's very subtle, but it's a nod to that. The idea was that Rivka's father was a cartoonist, and she's teaching the other girls to draw. In their down time, they are scared to death, hiding out in this cave and one of the things they do to keep it together is Rivka is teaching them about comic books.
All of these girls are outcasts. They don't fit in. The women who made up the WASP program largely came from families of means. In order to have the pilot hours, the hours they needed in a plane that they needed in order to qualify for the program, they needed to have money. It's very expensive to learn to fly. Now, that's not across the board, some learned to fly because Dad was a crop duster or whatever. Some saved their money because that was their dream, but a lot of them came from money. So what we have here is a group of misfits, of outcasts, which is kinda a Marvel Universe thing. We love underdogs.
When I saw the first Prowler, I was like “I don't know how those are going to fit together, but okay.” But when you see it, it absolutely works. It also makes sense that they don't need all of them. We'll see in the next issue what it is about this circular structure that makes it especially difficult for Captain Marvel to battle it.
DeConnick: We wanted to do a lot more stuff like this. In the first arc we didn't get in everything I wanted because, frankly, I'm new and I have loftier aspirations than I am able to deliver. But, you will continue to see artifacts and reverberations from the Butterfly Protocols being ignored. You won't get as much in the first six issues, but just because our time travel arc ends doesn't mean everything will be back where she left it. There is a price to pay for all of this. There are good repercussions and there are bad repercussions. And that is coming.
Karl Kesel just knocked it out of the park. Everything about it is just super awesome.
Deconnick: You are going to see more of this. This is not a backup, it's a cut away. This is not bonus material, this is a cut. There is nothing in what you are seeing here that is extra. It's important. The woman in the white jacket with the black bow is Helen Cobb.
Benjamin is handsome. Like, super handsome. Follow Benjamin on Twitter, or find him on IGN.
Source : ign[dot]com
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