“So long as we know where it’s going in the end, I think the great thing about the character is that she gets out from under us all the time, and we have to corral her back into the story. But as for the readers, Harley’s unpredictability is great for her creators. Harley has as much chance of getting away from her writers as the other characters in the story. “I’m on the third issue right now and we’re writing that, and it’s nothing like we pitched for the first two,” Palmiotti says. In fact, Harley’s unpredictability presents a unique challenge to her writers.
A bad Harley story is insanely predictable.” “The worst thing that can happen is the reader thinks they know where it’s leading to, because she has all the multiple personalities, and…on a dime, she changes her mind or gets distracted,” he says. To Palmiotti, her voice comes out in the structure of the story. “hat does it for me is seeing her interact and drive other characters nuts,” says Conner. They are perhaps most responsible for cementing her voice as the comic reader’s id. And then when we started doing this book, I’m thinking, ‘Well, if I just put regular swears in, it’s just anti-climactic.’ So I had to be really creative with my swear words.” And thus was borne the entire interruption sequence in the exclusive preview pages you see here.Ĭonner and Palmiotti have probably the strongest claim to Harley out of any creators this side of Paul Dini and Bruce Timm, having written her solo book for 7+ years and 80 issues.
So I had to get really, really, really creative with non-swear words, and every once in a while, I would come up with something that actually sounded worse than the swear word that it had replaced. “It’s funny, because when we were doing regular Harley,” Conner says, referring to the pair’s time writing the New 52-era, mainstream DC Universe book, “we were not allowed to put any swear words in, which is totally understandable. “She’s the one the sailors come running out of the bar, you know?” “That’s all Amanda, by the way,” says Palmiotti. So when you ask Amanda Conner and Jimmy Palmiotti about the magnificent, luridly poetic profanity in Harley Quinn & The Birds of Prey, their new Black Label collaboration on the character they steered for the better part of a decade, it’s hard not to hear Conner’s slow laugh as the glee of a cartoon artist’s paintbrush, getting ready to draw an anvil over Wile E. There’s something distinctly Looney Tunes about Harley Quinn, probably the combination of self-awareness and ultraviolent slapstick comedy.
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