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http://forum.newsarama.com/showthread.php?t=84440
Frickin'. Cool.
NEWSARAMA said:As the Civil War rages on in the Marvel Universe, the smaller stories are getting their chance to be heard as well. As previously announced, Marvel will be releasing a series of specials during the (albeit extended) Civil War run, that will focus on characters, and otherwise expand elements from the main miniseries.
Case in point, Decembers Casualties of War: Iron Man/Captain America, written by Cristos Gage. Its the writers latest in a growing collection of Marvel work, and though hes working in Captain Americas universe, writing the imminent Union Jack miniseries, Gage credits his relationship with editor Andy Schmidt for landing him the gig.
When it became clear that Civil War was going to have to be delayed, Marvel saw the opportunity to flesh out the story with some specials, Gage said. The Iron Man/Cap Special would be edited by Andy. He needed a writer who was both fast (given the short notice) and knowledgeable about the history of Captain America and Iron Man. He knew I was fast because I routinely get my scripts in ahead of deadline, and he'd liked my work on Union Jack, which showed some familiarity with Cap history, so he called me up and asked what I thought of Cap and Iron Man's respective positions in Civil War. I said, Well, it makes perfect sense to me, because in issue X, such-and-such happened, and we know Iron Man would feel this way because of Y, and I rattled off a whole bunch of incidents from both their titles going back to the Silver Age. I think that confirmed two things - that I had the job, and that my geekiness knows no bounds.
As for where the project came from Gage freely admits that the one-shot was something that Marvel offered him, but in regards to its true origin?
This was a case of Marvel listening to the fans and responding, Gage explained. There had been readers asking for clarification about why Cap and Iron Man have taken the stances they have, what makes them feel so strongly about it, and why two men who have been allies for so long would let things get to this point without finding a way to work it out. The sheer breakneck pace of Civil War has precluded an in-depth examination of these issues, so I was asked to come up with a story that would clarify matters.
Obviously, I had to do it without messing up the larger storyline that had already been planned out, but aside from that I wasn't told this is off limits. It was a matter of finding the right kind of story. I thought about it and said to Andy, You know the diner scene from Heat? He replied, You did not just ask me if I know the diner scene from Heat, like I'd just inquired if he knew who Jack Kirby was or something similarly insulting. That started the ball rolling.
As that ball rolled, Gage came up with something that wasnt shown in the main miniseries, something that some readers may see as a missing piece. It's about Cap and Iron Man's secret meeting in the midst of Civil War, in the ruins of Avengers Mansion, under a flag of truce to see if they can work things out man to man, Gage said. If you'll recall Civil War #1, they've never really spoken to each other about this - while Iron Man was addressing the gathered heroes, Cap was on the Helicarrier fighting his way through an army of SHIELD agents. So this is the first time since it all started that they've met one on one, out of respect for their many years as friends and allies, to talk it out. We'll reference incidents from Marvel history to show why each man feels as strongly as he does, and each will have to defend his position as he tries to convince the other to rethink his own. But this isn't Meet the Press given what's happened already, there's the constant and very real threat that it will come to blows. I don't want to give away too much, but whatever happens, readers should come away with a clearer view of why Captain America and Iron Man feel the way they do, and why the situation has reached the point it has.
Joining Gage on the one-shot is artist Jeremy (Leading Man, Battle Hymn) Haun, and cover-artist Jimmy Cheung.
Jeremys got a great feel for both Cap and Iron Man; I think anyone who isn't familiar with his stuff will really be impressed, Gage said. His style is perfect for the book - he's great at conveying emotion, which we absolutely needed, but at the same time his heroes are iconic looking, which is key because he's being asked to draw some classic scenes from Marvel's past which would intimidate some folks - like me, if I could draw, but just fills Jeremy with enthusiasm. He's really pumped for this, and it shows in the work. And as for that cover need I say more? He's the man. Jimmys drawn both Cap and Iron Man before and is right up there with any of the greats who have rendered them over the years. I'll tell you what, getting to write such a momentous story in the history of two of my favorite childhood characters would be thrilling enough, but every time I look at these guys' art, it's official: I am in fanboy heaven.
Having had to stick himself into the headspace of the two opposing sides biggest proponents, what side does Gage himself come down on in regards to Super Hero Registration?
I'm kind of on the fence, the writer confessed. I think it was Dan Slott who said this, and I agree: as a Marvel Comics fan, I'm opposed to the Registration Act, but if I actually had to live in the Marvel Universe, I'd be for it. I definitely see both sides. Captain America is my favorite Marvel hero, so if anything, I've grown more sympathetic to Iron Man's position because, while my knee-jerk reaction is with Cap, I've had to really think about exactly where Tony's coming from, and it makes a lot of sense. I don't think he's power-hungry or unfeeling or some of the other things I've seen said online. Sure, he's got his issues, but so does Cap, and I think they're both trying to do what they believe is best. If I only accomplish one thing with this story, I'd like for it to be that the people saying Iron Man's a jerk - and worse - come away with an understanding of why he's doing this. Not that they necessarily agree with or endorse his position, but that they understand it because I definitely do.
Gage admitted that, in being a fan of the Captain America character, it was at times, something of a struggle to believably get Iron Mans point across, though he feels he did get it, in the end.
In writing both characters, I always tried to put myself in their shoes, Gage said. In rewrites, I'd go through the script from Iron Man's perspective, then from Cap's, then back again. I never wanted to favor one character or, worse yet, force my own views on the story. I wanted everything to come out of who these men have been established as being over 40 - or, in Cap's case, 65 - years of history. To shoehorn in my own agenda, whether it be I'm liberal, I'm conservative, or I always wanted to write Cap and Iron Man breakdance-fighting, would be horrible. When I was writing the Deadshot miniseries for DC, at least one reader posted a message online making it clear he believed - without attacking me for it or anything - that I was a right-wing gun enthusiast, when in fact I've never fired anything higher caliber than a BB. I loved that, because it meant the character was coming through, not the writer.
Back to speaking as a fan, how does Gage see the relationship between the two characters at the end of Civil War? Well, though a kiss and make-up ending isnt in the cards for anyone, Gage said he hopes that a reconciliation between the two heroes is a possiblility, at least at some point in the future.
It's not easy seeing them at odds; it's like your parents fighting, you know? The whole time I was working on the story, part of me kept wanting to write the scene where they resolve everything, hug it out, and say Come on, old buddy, let's grab a root beer and go fight the Absorbing Man. The way superhero conflicts used to be worked out in the old days: meet, fight, team up, we're cool. But life isn't that simple, and neither is Civil War. I suspect it's going to take more than an appearance on the Dr. Phil show to get past this.
Frickin'. Cool.
