In the midst of the three-day walkabout that is Emerald City Comicon, I had the opportunity, thanks to the lovely team at Dark Horse Comics, to interview the writers of the Conan/Red Sonja crossover comic, Jim Zub and Gail Simone. First up was Jim Zub who was kind enough to set some time aside at his booth. The interview has been transcribed due to heavy background noise during recording. 
Author’s note: All italics and parentheses have been added for emphasis and clarification.
Maniacal Geek: So, Conan/Red Sonja!
Jim Zub: Conan/Red Sonja.
MG: I read the issue the other night.
JZ: Issue three?
MG: Yep, issue three.
JZ: Awesome.
MG: So, if you can describe the process of working with Gail Simone first.
JZ: Sure. So, Gail was on the project first and she was the one that brought me on board. So even when I came into it she already had a couple ideas about how things could work. And I think the one thing that I’m really the most proud of that we worked out was – ya know this kind of a project, especially with characters who haven’t been teamed up in over fifteen years…
MG: Yeah, not since the movie, right?
JZ: Right? You have them when they’re young and they’re vibrant and then you have them when they’re older. And both eras of the characters are really amazing. And it’s like, man, if this is the only time I ever get to write Conan, I wanna do it all and Gail had this great idea that we would show a story that evolves as they get older. So the first chapter is, ya know, when they’re young and impetuous and then as the things that they do in that first chapter come to roost in the later chapters.
MG: The bloodroot and everything?
JZ: Exactly. And so we wanted to create this – it enlarges the scope of the story and it makes it that much more epic, but it also allows us to show how the characters have evolved and how their attitudes have changed. So Conan has become much more serious. Ya know, in the early one Sonja is very harsh, she’s very prickly, and then as she gets a little bit older she’s a bit freer and Conan has sort of shut down after Bêlit’s death. He’s just, ya know, much more morose and kinda grim about the whole thing. And that – being able to show the contrast between them and the shift in time I feel like is one of the most – it’s something I’m really proud of in the series. And then, ya know, just being able to have this big sweeping adventure. You get to have that pirate, swashbuckling era. You get to have the ragtag thieves.
MG: Gladiatorial…
JZ: Exactly! We get to – literally it’s like a – the best of collection for me, it’s like the greatest hits of Conan and we just get to hit all these high notes all the way through. And that was just the best feeling. Ya know I can’t adequately describe…my name on a Conan book feels absolutely surreal.
MG: Is it one of those things that you kind of always dreamed of but never –
JZ: Yeah, I grew up on it. I just never thought it would even be possible. Ya know I read the Conan comics growing up and I read the novels and that just felt like, well that’s what those people do. Not that I would ever be able to do that. So having my small little piece of the pie that’s pretty amazing.
MG: One of things that struck me with the third issue is that you’re really laying down this foundation of legacy. The storytelling to the prince. Is there something about that that just goes into the old novels or are you trying to play up the sweeping epic?
JZ: I think it’s a bit of both. I mean you wanna give a sense of…that this is not just an adventure that takes place in the moment but that it changes and it is recorded and it will be spoken of for a long time. I mean, that’s the nature of a legend, right? And we’re talking about two characters that are legendary and so being able to give it that – without trying to sound corny – that gravitas, like to say this is something that is – will be spoken of – this is not just these characters experiencing it but something that will echo outwards. And that’s, ya know, that great epic fantasy, that’s what they do and so that’s really very much the voice that was established even by Kurt Busiek when he was doing his run on the series and we looked to that and said, “Okay, we wanna run with it.” But Roy Thomas did that kinda stuff too. He would do this really poetic kind of prose and narration in his comics. It’s funny sometimes when you’re writing it you feel like, man, are we going over the top? But Conan feels like it can absorb it. It’s so big and he’s such a powerful character that even if it feels like you’re going too much you’re just right there. Like that’s where it should be.
MG: You feel like you’re going too far but, in fact, you’re not going far enough!
JZ: No, you’re right there. Right in the thick of it. You just wanna push it right to the edge in terms of the narrative quality or the intensity of those emotions and the poetic way you say it. And every so often I would find myself, I would write a sentence and I would go, “Am I nuts? Is this – did we – did we go tip it over the top?” And then we would, I would go back and I’d kinda read it out loud and my wife or other people would be like, “No, man, that’s totally Conan.” I’m like, “Wow! This is cool!” We get to really dig in on that kind of prose.
MG: Is there a particular metaphor that you’re proud of?
JZ: In the first issue we’ve got this – hold on, I – see I want to get the wording of it right and actually read it to you because I’m so proud of it.
MG: You have to do the voices too.
JZ: Yeah, okay that’s a trick. Whenever I do a script and it’s got a – particularly licensed characters – I always read it back in the character’s voice so I feel like it has the right cadence. So, it’s corny but it’s totally useful.
MG: Lay on, Macduff.
JZ: Right here, right, so he [Conan] jumps over this gate and he smashes this guy in the face and as it’s happening the guard screams, “Gods above!” And he [Conan] goes, “Gods, you say? No, just a Cimmerian born with an appetite for things kept hidden behind steel and stone.” It’s just something, I don’t know, that’s like a badass way to introduce a character. He just comes out of nowhere and beats the hell out of people.
MG: Well why not?
JZ: It’s Conan, he can take that. So I’m proud of that one. I’m proud of the issue that hasn’t come out yet, issue four has got some – we go all epic. The original Howard stories – Robert E. Howard was actually – he was a pen pal with H.P. Lovecraft and you notice in a bunch of his stories he has a very almost Cthullian approach to the supernatural. Conan doesn’t just fight something, he fights something that could melt your mind or is beyond the universe’s ability to comprehend kind of stuff. And I always found that stuff very visceral and so I told Gail really early – we made a wishlist of all the cool things, ya know, we have a gladiatorial scene, and we have pirates, and we have this. And I said, one of my – on my wishlist was creature beyond the universe; creature of the unknown and she’s like, “Oh yeah, let’s do this!”
MG: I feel like Gail would be on board with anything.
JZ: I got to put one of those into issue four and all the prose around that makes me very happy.
MG: Especially with high fantasy because it’s like science fiction, it’s a sponge for everything. You can just – you’ve been doing that with, a little bit with Wayward and Skullkickers and then Samurai Jack. It’s all within kinda the same umbrella.
JZ: Yeah, totally, and I feel like…some people say to me, “Oh, you’re a sword and sorcery writer.” I’m like, “No, I wanna tell stories.” I like fantasy and I like magic but it’s broader than that. It’s about empowerment and it’s about excitement and I feel like these are great vehicles for excitement. In whatever I’m writing I want it to be action-packed and entertaining. Some of those are more comical and some of those are more serious but there’s an intensity to them.
MG: Definitely and I can’t think of a better way to end it.
JZ: Thank you so much.
MG: Thank you! I appreciate it and I loved having you on the podcast before.
JZ: It was a lot of fun, I really appreciate it.
MG: Yeah, no, you and Andy [Suriano] are like one of my favorites.
JZ: We’re having so much fun with [Samurai] Jack. The last issue, 20, comes out in, well it’s a little delayed now because of shipping, but it’s coming out in June and it is, like, it’s like our coda on the series. I tried to sum everything up and say, okay, if they never do an animated ending for Samurai Jack this is what I wanna say, drop the mic, and walk away.
MG: Are they cutting you off?
JZ: Well yeah, but they gave us enough notice so we could go out the way we wanted.
MG: That’s good ’cause you don’t always get that.
JZ: Oh yeah, absolutely. The show didn’t get that! So, the last thing you wanna do is cut off the comic.
MG: Exactly. Thanks, Jim!
JZ: Thanks!
Killing Joke.
Just hear me out for a second and bear with me because I’ll most likely be covering story elements that you’re well aware of but are important to point out nonetheless. Within The Killing Joke, Joker, as a means of torturing Jim Gordon and getting at Batman, shoots Barbara, paralyzing her, strips her naked, photographs her, and it is HEAVILY implied that she’s raped. And this is just to torture her father and Batman. The only times we see Barbara are when she’s shot, when Jim is shown the photographs, and when Batman goes to her in the hospital. At no point in this story does Barbara make any decisions or take any actions that effect the course of the story. She is a PAWN, a piece of the story that is actually about Batman, Joker, and her father. This is the definition of both 
the comics until 
Bottom line: The Killing Joke is toxic when it comes to attracting female readers and I doubt the animated movie would fare much better considering the most recent batch of animated movies have been all but gleeful celebrations of the PG-13 rating with plenty of violence and coarse language that makes it impossible for me to show them to my five-year-old nephew who loves Batman. It just doesn’t make sense, from a business perspective, to develop an entire line of 
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