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One of the key figures in modern comics is Chris Claremont. After the epic period of creativity that came out of the Golden and Silver Ages of comics, Claremont emerged as one of the preeminent storytellers in the Bronze Age. Claremont became a defining voice for modern superhero comics through his work on Uncanny X-Men and related titles, and although he didn’t create the concept, he’s the one who made it work–and made it flourish.
After doing a number of peripheral X-Men titles and other work in recent years, the writer stepped away from mutants–and comics at large. The final issues of X-Men Forever 2, New Mutants Forever and Chaos War: X-Men came out in early 2011 but were written by the New York-based writer in late 2010. For over a year now, Chris Claremont hasn’t written a single page of comics script.
Although he’s turned his focus to prose novels for the time being, Claremont remains in tune with developments in the comic industry that he worked in for so many years. In a far-ranging discussion with the London-born writer, we talked about the modern comics movie blockbuster, digital comics, the seduction of work-for-hire and news about his own creator-owned comics.
Chris Arrant: 2011 was a different kind of year for you and for fans of your work, Chris. What are you planning for 2012?
Chris Claremont: Well, I’ve got a prose novel making the rounds to potential publishers, and a short story in Simon & Schuster’s Under The Moons of Mars: New Adventures of Barsoom anthology. I’m working on another novel that’ll hopefully be in a position to start sharing with publishers soon as well. This year’s the first time I’ve been able to do things that are all totally mine and all totally different.
Chris Arrant: Are these sequels to your Willow novels or perhaps the First Flight novels you did a few years back?
Chris Claremont: No, the Willow books are George Lucas’; the fate of that is up to him. And these aren’t connected to First Flight either. They’re all in different genres with different emphasis. The novel making the rounds now is a young-adult adventure, and the novel on my desk right now that I’m stitching together for my agent is much more of a mystery/suspense.
Chris Arrant: Even if you’re working outside of comics currently, you’ll always be associated with the medium. Given that you have a little distance from the day-to-day of working in comics, what are your thoughts about the comics industry and medium as a whole?
Chris Claremont: This is the first time in 40 years that I haven’t written a line of comics work in a year. That is part of what’s enabled me to do a lot more prose. It’s a totally different experience, and I’m getting used to being on the outside looking in and on the inside looking out.