So I finally got to the part of the story in Curveball where our heroes have to deal with magic. I've been looking forward to this part of the arc for a while. I finally introduced it in Issue 12, wound up devoting an awful lot of ink to it in Issue 13, and now in Issue 14 there's actual worldbuilding around it. (Still need to put up Part Four. "November" issue. Sigh.)
What's interesting is that in all my planning I didn't anticipate how it might fundamentally change the story.
I was inspired to figure out how magic fit in my world from The Legion of Nothing -- the scene where Nick runs into Vengeance while they're trying to deal with the Mayor. It's one of my favorite earlier scenes because Nick is the classic Science Guy and here was this thing that was Very Much Not Science but it was there and he mostly rolled with it (I'm operating from memory now, it's been a while since I read the first arc). It was a very Marvelesque thing, with Doctor Strange and Iron Man saying "hey" (only Vengeance is more like "Warlock Punisher," but... well, I'm getting sidetracked). And it worked perfectly. "Hey, look, this is part the world too, no wonder most citizens have given up trying to sort it all out."
LoN is probably the serial that did more to convince me to start writing Curveball, and I thought a lot about stuff Jim was doing that I liked, and how I would want it to feel different from what he was doing -- that's right, Jim, you're one of my unsung muses . And one of the things I wanted to do was make magic very different--more chthonic (or if I'm going to stick with genre types, more like magic as it was shown in the Vertigo line when it was mostly separate from the main DC line). So I worked out how that fit, mostly, and tucked it away, and wrote issues 1-11 with (I'm pretty sure) absolutely no mention of magic anywhere whatsoever, until all of a sudden in issue 12 it stepped up and kicked CB in the jellies, hard.
So far, so good. Except that I'm working through Year Two now and I'm a bit concerned that the choices I'd planned out so carefully are in danger of taking over the rest of the story. I hadn't intended to write The Call of Chthulhu, Son of Krypton Edition, but the story effect of keeping it hidden for as long as it has and then bringing it out may be that it just draws more attention than the other stuff I want to introduce.
The great advantage of the way Marvel does it is that it puts everything on the same level, essentially. Magic and technology and mutation are all powers first, and while the storylines may be different depending on the source of powers, and the specific "get out of jail" cards the protagonists deploy to resolve their situations may be different, you can put them all on the same world because they scale relatively easily. I wanted my magic to be very alien to the world, and as a result it may have to take over the show for a while, unless I can figure out how to mitigate it.
Ah well. Unintended consequences are one of the joys of writing.