Christopher Priest Quotes
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I don't think there is really much from my career that I want to go back to. I think that, with most of the characters that I've been lucky enough to work with, I've said all I have to say about the Black Panther, Green Lantern, and on and on.
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It made absolutely no sense to me why Panther would ever join a super-hero team; he's not a super-hero, and the record shows he did a whole lot of nothing most of the time.
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If we can provide even a fictional roadmap to what a successful, prosperous African nation might look like, then let's do that.
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I quit comics in 1988 and trained as a bus driver. I used to drive those big Greyhound coaches out of New York Port Authority and down to Princeton, New Jersey. It was, hands down, the best job I ever had, and I profoundly regret having left it. I kept that job the entire time I was on staff at DC Comics in the '90s.
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You go back to look over the body of my work, and there are no archetypal villains in my books.
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When I read comics, they were dense stories. When you put them down, there was a sense of having gotten a great deal from them.
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If the League were real, today, they'd most likely be sued by every person they ever saved. They'd be subpoenaed by every authority in every jurisdiction imaginable; hearings upon hearings. There'd be waves of accolades followed by tsunamis of boos from social media.
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Hollywood is, of course, loaded with egos, but it's amazing to see how, despite the egos, those collaborators pull together and focus on telling a story rather than butt heads and sabotage what is extremely hard work and investment just because their ego apparently demands it.
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Deathstroke,' in my view, is a family drama. It's like the 'Sopranos' with super villains.
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In comics, my experience has been mostly artists whose visual storytelling chops are either weak or they're more invested in rushing to a paycheck than in doing work they can be proud of.
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You don't want to have a character say what's bothering him; you want to define characters by action.
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The 'Black Panther' series was never really about the Black Panther at all. The State Department guy, Everett K. Ross, was the series protagonist, so politics was simply a logical part of the character's tool set.
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In my opinion, I feel like all versions of 'Deathstroke' are valid. Just like with 'Black Panther,' I felt like it wasn't good for a writer to say another writer's work was invalid or never happened.
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Writing 'Deathstroke' presents a number of challenges to me. As a Christian, as a minister, it's difficult for me to write a comic book that all but glorifies violence. So my take on 'Deathstroke' has been to not so much celebrate violence but to deal with the consequences of violence.
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If you could access 90 percent of your brain, you'd be Charles Xavier.
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My 'Black Panther' run really wasn't about Black Panther. It was about Ross. It was about exploding myths about black superheroes, black characters, and black people, targeted specifically at a white, male-dominated retailer base.
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The way that I process and make writing work is I'm really telling true stories; I'm just putting them in a cape and putting an 'S' on its chest.
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I never really considered 'Quantum & Woody' a comedic book or a funny book. I never thought of it as a satire.
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Not liking me because I'm black is so juvenile and immature, because there's many reasons to not like me.
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I think everybody wants to feel validated in some way, and when you're looking for leisure activities or if you're looking for escapism or things like that, you want to read about characters you can identify with.
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If I could make Panther tough, mysterious, wily, and often at odds with his 'Avengers' comrades, that was a character I'd find interesting.
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Deathstroke is the dark-mirror version of Batman, basically. He is every bit as resourceful, every bit as ruthless, every bit as powerful as Batman.
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'Justice' actually means different things to different people.
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I didn't want to write a 'black' book because black characters are a tough sell.