Ann Nocenti
Ann Nocenti
Ann "Annie" Nocenti is an American journalist, writer, teacher, editor, and filmmaker. She is best known for her work in comic books. As an editor for Marvel Comics, she edited New Mutants and The Uncanny X-Men. With artist collaborators, she created such Marvel characters as Typhoid Mary, Blackheart, Longshot, Mojo and Spiral...
NationalityAmerican
ProfessionJournalist
Date of Birth17 January 1957
CountryUnited States of America
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When I was in college, I worked at a state hospital that was a dumping ground for all manner of the criminally insane and 'mental defectives' as they called them back then. It was a horrible place, like Arkham, mostly in terms of total neglect of the inmates, so I wanted to write an Arkham story.
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When my editor sent me the first two images of Joker's daughter, I was struck by how confident she looked despite her boney appearance and horribly scarred face. So I starting thinking, how did Duela gain such confidence in a world that prizes beauty?
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There are a lot of writers who just want to do their own thing and avoid the rest of the Marvel Universe. But for me that was one of the things I loved about Marvel: that shared universe. So of course you would run into a mutant in Manhattan. You would run into another hero in Manhattan. For me, I figured why not? Why not have that fun?
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There are a lot of Chinese comics, but the Chinese comics tend to be more historical and conservative. Japanese culture, just the comics are amazing. They're like films: very few words; they move so much in these books with hundreds of pages.
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I think writers process their own experiences through the characters and situations they write. So for Batman, I used my own experience of losing a loved one. Grief is a strange place; it's like an altered state. You might sleep too much, so you can see the dead in your dreams.
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I think the best collaborations in comics come from a lot of talks with the artists where you are finding out what they want to draw, what kind of villains they want to do.
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Katana is a trained, disciplined martial artist. She removes herself from Birds of Prey to go on a personal journey in Japantown, San Francisco, and pursue a quest for vengeance against the Sword Clan, the men that killed her husband.
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It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They're fat books; it's a whole different kind of comic that's very close to their films. So I'm drawing from that history and bringing it here - bringing it to Katana.
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There is an unspoken feminist layer to Katana. She's an aggressive modern woman with traditional Japanese roots. She was in love with her sword because she believed it contained her husband.
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Mythology contains a rich history of legendary weapons, most famously 'Excalibur,' weapons that could only be used by the pure of heart.
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I actually have a peculiar feminism that does not involve the idea that women shouldn't be sexy. Female characters written in comics have always been pretty damned sexy, and used their sexuality. And I don't have any problem with that.
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Green Arrow was a very complicated character to take on because he has archaic weaponry. Catwoman, I think is more of a simple archetype to grasp, so it will be about nuance. But I think you need three or four issues before you say, 'Ah ha! Now I really know how to write this character!' You're carrying them around with you.
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Green Arrow has gone through so many changes; he's been right-wing, he's been left-wing, he's been rich, he's been poor, he's been a social justice guy, then when I got him, he was a rich playboy guy. So it was a lot harder to get into a character that has so many personas in the past, and I just looked at his anger.
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When I first started writing comics, in the way-back days, Typhoid Mary was my explosive response to women characters in comics - I made her an innocent virginal type, a clever, dark, liberated woman, and as Bloody Mary, a feminist bent of punishing men - all in one character. She was an instinctual rather than a calculated creation.