One of the top superhero writers of the 80s, John Ostrander’s work graced Manhunter, Hawkworld, The Spectre, and, most importantly, Suicide Squad and his creator-owned Grimjack. While neither was a sales juggernaut, both have received significant critical praise and have very devout fan bases. In the 90s, Ostrander would branch out from DC, working Bishop, Quicksilver, Heroes for Hire, and Punisher for Marvel and Magnus, Robot Fighter, Rai and the Future Force, and Eternal Warrior for Valiant.
He’s branched out again in the 00s, tackling science fiction as he takes on the Star Wars Universe, where he is currently the brain behind Star Wars: Legacy, a look into a truly messed-up universe 125 years after Return of the Jedi. I had the chance recently to discuss his work there with him.
In working with Star Wars: Legacy, you have the advantage of being set well past the mainstream Star Wars continuity, but at the same time you are constrained by the rules of the universe already previously established. How much leeway do you have to with in Legacy compared to some of your other Star Wars work?
Well, there’s less concurrent continuity, as compared to the period just after ANH or the other films in the OT. We try to not only keep consistent with past continuity but to draw from it. It’s not really that much different than dealing with a mainstream superhero, such as Batman or the X-Men. In fact, it’s often easier.
What do you find is the biggest difference in working with the future of the Star Wars Galaxy than when you were working in the past with Republic?
When we were doing Republic, especially in the later issues, we had to deal with the fact that the final movie, Revenge of the Sith, hadn’t yet come out and, in fact, was pretty fluid as it was being created. So we had to be ready to adapt as we went. Something we thought was established might change in six months – which is the nature of making movies. Just have to be prepared to roll with it.
How much oversight does Lucasfilm have on Legacy, and is it any different than the level of involvement they have with other Star Wars books?
They approve everything at every stage – plot overview, script, pencils, design, the whole works but it’s no different on Legacy than it was on Republic. There was more give-and-take as we created the whole thing but, again, that’s to be expected. The very fact that they okayed our doing this in the first place was amazing and, I think, a real indication of the trust they had in Jan Duursema and me.
After having worked in superheroes for so long, why the move over to science fiction?
Why not? I’ve also done horror and my series, Grimjack, with which I first made an impression, was as much SF as anything else. I had the opportunity when it was offered to me and I ran with it.
In writing about the Force, do you find yourself taping into your theology studies? Considering that background, what is your interpretation of what the Force would be?
Not really. I think that GL defined it pretty well, so far as my needs as a storyteller are concerned.
I was struggling with a way to word that last one, and I hope it’s not too geeky sounding.
It’s fine but I don’t get too deeply into parsing the Force.
