JOE CORALLO sits down at the Round Table with KING ARTHUR AND THE KNIGHTS OF JUSTICE

Hernando Diaz invites Joe Corallo into the Yeti Cave for a chat ove rthe latest King Arthur and the Knights of Justice, available on pre-order from Maverick through Simon & Schuster!

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COMIC BOOK YETI: Joe Corallo, thank you for joining Comic Book Yeti! Today, let’s talk about you as a writer and your new project, King Arthur and the Knights of Justice. To start, tell us about your journey as a comic book writer. What inspired you to pursue your career? Maybe a specific moment or project? 

JOE CORALLO: Oh, I mean, I had started making a fan fiction mash-up universe with Mega Man and Sonic the Hedgehog back in 3rd grade with my friend Brian, so you could say pursuing licensed writing work has been something I’ve been doing since before I knew that was a thing I could do! Reading James Robinson’s Starman run may have sealed the deal for me, though. 

CBY: Every single writer has moments of inspiration, but sometimes it falters. In some cases, you try to do different kinds of activities to refresh your mind. In your case, how do you stay motivated during the creative process, especially if faced with writer's block?

JC: I really don’t mean to sound arrogant in any way by saying this, but I’ve never really faced writer’s block before. Sometimes it’s hard to get down what I want to get down on the page the way I want it, but that’s a bit different. What keeps me motivated is wanting to keep doing this. I’ve never not wanted to tell stories, and it’s a privilege to be able to do this in a way that’s fulfilling for me creatively and that pays the bills. I’ve never not wanted to tell stories, so I really don’t know what else to do!

CBY: I think it is time to talk about your new project. Arthurian legend provides a fertile foundation as a narrative world. What inspired you to create King Arthur and the Knights of Justice in its latest form?

JC: So for the first volume, my editor Lauren already had an approved outline I was able to expand on with a focus on creating a resolution that we weren’t able to get in the original show, which I watched as a kid, as it had ended prematurely. For the second volume, since we already addressed creating a proper ending for our heroes, I was given the freedom to run with some ideas delving deeper into Arthurian legend, which everyone at both Mad Cave’s Maverick imprint and the licensor was very supportive of. 

CBY: In accordance with your perspective, how does your interpretation of King Arthur differ from traditional portrayals? What elements of the legend do you feel are most important to include in your story?

JC: There are so many different interpretations of the Arthurian legend; it was honestly a treat to be able to mix and match and play around with it all. I’m a big fan of films like Excalibur and Lancelot du Lac, own a nice hardcover copy of Le Morte d’Arthur, enjoy the classic Doctor Who 4-part serial Battlefield, loved when Iron Man and Dr. Doom had their own Arthurian adventures in Iron Man #149-150 and #249-250, and so much more! Hopefully, that comes through in the work itself. 

For me, when it comes to what’s important to include in the story, it’s the overall narrative of people coming face to face with unbelievable obstacles and how they rise to the occasion or fall. There is certainly that element at the heart of this story.

CBY: This project has a very good interpretation of Morgana’s character. In my personal case, I loved this character in your comic. For our readers, tell us a little more about her role in your story relative to her traditional role in Arthurian legend?

JC: Here, I went for the over-the-top villain with intense dialogue. I love writing Morgana’s dialogue. I was definitely inspired in part by the recently passed Jean Marsh’s portrayal of Morgaine in the aforementioned Doctor Who story, Battlefield. She has always been a character with ambitions beyond what we can truly grasp in time and reality, and I like to think that comes across here, as bombastic as she is. 

CBY: King Arthur and the Knights of Justice has very engaging elements as part of an ongoing story. What is the future of your King Arthur project involvement? How does volume 2 of this story fit within the larger series underway?

JC: I certainly know what I would do if I continued the story. This can be made possible with strong sales for volume 2, so you, fine readers of this interview, spread the word and pick up a copy if you so choose! These characters have a lot more adventure in them, and I’d be happy to facilitate said adventures for them.

CBY: On the other hand, I am curious to know your point of view about the evolution of the comic book industry. How do you think the landscape has changed in recent years, especially regarding the use of the deep public domain as creators draw upon mythological stories for inspiration?

JC: The more things change, the more things stay the same, as it were. There’s a lot of change going about, but pulling from tried and true characters and stories has stood the test of time for centuries, and in some cases, millennia. I don’t see that changing any time soon. I believe Tin Tin just went into the public domain here in the States, so I’m expecting to see that popping up some more coming up. 

While there may be some chaos right now in terms of distribution models and figuring out how to best get comics in the hands of the people that will read them, I don’t think that ultimately will change the use of characters as well-known as King Arthur, Merlin, and Morgana. That said, they’re often a reflection of the times they’re being used in, so the more extreme 90s type interpretation you’d get from the original King Arthur and the Knights of Justice cartoon isn’t in as in full view now in these stories as it was then, but still remains faithful and thankful to the source material.

CBY: In your personal, and professional, opinion, what makes a successful comic book series in today’s market?

JC: From my personal observations, we’re in the age of story now. In the 90’s a handful of artists, primarily around the Image revolution, that really drove the industry. Later in the 2000’s it was writers like Bendis, Mark Millar, and Robert Kirkman that really pushed things forward. Now, I’m finding more people buying comics to read them are focusing on the story; they want a well-thought-out and compelling world with characters they care about that are brought to life through exceptionally skilled and executed artwork. I think it’s an excellent opportunity for people with little to no name recognition or track record, but getting noticed is still an uphill battle.

CBY: Your writing has been published by different companies. For example, DC Comics, Archie, ComiXology Originals, and Vault. How has your experience with Mad Cave stood apart from previous working arrangements?

JC: I’ve honestly had a positive experience with all of the publishers you mentioned. When it comes to Mad Cave, I’ve gotten to work with them the most, which has involved working with multiple editors across multiple imprints now. I’m very lucky to be in the position I’m in, being invited to speak on panels at conventions, coordinating directly on marketing efforts, and genuinely feeling welcome by everyone there. It’s especially great when I’m at a convention they’re tabling and I want to take a seat and hide away behind their booth for a few!

CBY: My last question is on behalf of the aspiring comic book writers out there. What advice would you give to them?

JC: You have to write, and you have to get your writing out there. And you have to show people your range. One up-and-coming writer who I think is doing writing right is Keith Frady. He’s focused on putting out short comics, especially one-pagers, with different artists to show his range as a storyteller. Breaking into comics isn’t about getting your magnum opus picked up on your first go-round. You have to focus on proving to the world you can write, and that magnum opus of yours will be stronger after you’ve got more experience under your belt anyway. 

Oh, you have to read a lot too. Read a lot of comics. See what other people are doing. Read some prose novels. Listen to audio dramas, Watch movies. See plays. You have to experience different forms of storytelling. It will only enrich your work.

CBY: Joe Corallo, thank you for joining us in the Yeti Cave today! For our readers at home, please feel free to include any portfolio, publication, or social media links below where they can further engage with you and your work. We look forward to seeing what you come up with next!

JC:   Thank you for having me! It means a lot. Here’s my portfolio. I can also be found on Bluesky and Instagram!