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THE COTTON CLUB: GAME ON!
By Mike Cotton

Writer Neil Gaiman talks about the biggest secret in comics, 1602 as well as why the highly-anticipated series became such a big mystery over the last 18 months

 


1602 #1 - SIGNED BY ANDY KUBERT

MIKE COTTON: Do you think fans will be surprised by 1602? It is a different sort of project for you.

NEIL GAIMAN: I think that a certain amount of surprise is perfectly legitimate in that this is sort of.no one knew what we were doing, mostly, for a very, very specific reason, which was that I didn't want.I knew that the biggest problem was doing something of this length is quite simply that you start out and do it and the publishers start publishing and you turn around one day and episode one comes out on time and episode two comes out on time, and episode three comes out two weeks late, and episode four comes out a month late, episode five comes two months after that, and episode six comes out at about the point your next child turns twelve, and you sort of go, 'Oh my God, episode six just came out, what was this thing again,' and we were really trying to avoid that thing happening. We wanted to get as far ahead as we possibly could before it started. I had theories when I began that I would be able to write incredibly quickly and I discovered that, 'No, I really can't.' I write at sort of the same speed that I used to write 'Sandman', and Andy [Kubert] is drawing in this pencil style that takes him an age. He's doing all the work and it takes him several days a page, which means that he can't bang out twenty-two pages in twenty two days either. That was the main thing, and it was like, 'Okay, let's wait until episode one comes out.' It was never meant to be this giant secret, but it sort of became this secret and then, we looked around one day, and no one knew what it was, and everyone wanted to know and at that point, it was sort of like this evil grin, and we were like, 'Okay, then we'll just not tell them,' and we just carried on working on it.

 

THE SANDMAN VOL. 1 TPB: PRELUDES AND NOCTURNES

COTTON: Was it all different or were there things that you didn't expect to enjoy about it, but you did or things that were different in terms of working with Marvel?

GAIMAN: Well, I'm trying to think of things that were different. It's incredibly quiet and a very sort of pleasant working relationship. I write the scripts, Andy [Kubert] draws them. It's just very odd, and very interesting and very quiet.

COTTON: 1602 does actually tie into the current Marvel Universe, right?

GAIMAN: Oh yeah, no, it really does, unlikely though that may seem. There is a very good reason why the world is like this and why everything is trying to happen five hundred years early, and by the end of episode six, maybe by the beginning of episode seven, I think that everyone will know what it is. There's lots of strings. It's fun, and originally, my first thought was that I'd do it almost like a 'Sandman', like, make it incredibly complex and I'd have people talking like they were at the time and I would make everything as historically accurate as I possibly could. As I started getting into the ramifications of A) a Marvel Universe in 1602 as opposed to our universe in 1602, and B) a Marvel universe in which serious damage was being done to the time stream, and I started to realize that there was actually no way that I was going to be able to keep things or go for historical accuracy anyway. So, we let it wander the other way, and now there are sort of very odd little things like tiny dinosaurs around which are really fun. Everyone loves tiny dinosaurs, and there's actually a reason why.they haven't done much more in the way of colonizing America because of all of the dinosaurs that are wandering about.

Pages: 1 | 2 Continued Here...

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