The Art of Interviewing

When the come to the Firm it is my job to talk to them; I like to consider myself a First Responder.

"Yes, we offer brand name recognition." "Yes, we can give you new powers." "Yes, we help design your costume for you." "Yes, we hook you up with the best PR firms."

But really, I just ask questions. I'm good with those, and silences others feel the need to fill. And most of them want to talk: hiding their truths from family, lovers, friends. I've never understood why they do that, or what it says about them and trust, but we make a lot by referring them to discreet psychiatrists. If you can't tell your S.O. you are a superhero and you go around fighting for justice and truth, it adds up to a lot of sessions.

They talk away, and I just listen. You have to be a good listener, in this job. You have to know what to say, what can't be said, what must be said even if the client could destroy the entire office building in under three seconds. It's like poking a lion in a cage, waiting for it to roar. I understand why supervillains do the things they do better, now. (I prefer the publicity end of The Firm to the financial, so I have few dealings with them.)

Most of the heroes are scared, when they talk to me. What if they lose control? What if they turn on 'beat up villain' and can't turn it off? Even with training and government funding, there is always that fear. But fear doesn't always limit potential. I pay attention to the ones with potential,. the promise for heroism, who need that small extra push to greatness.

Some of them do realize something is missing, some indefinable drive or need, but they skirt the issue, slip aside from it. And I listen, nod, make notes, and run scanners, learn identities, probe secrets. Many of them have horrible masks that any decent face-rendering system can bypass. For the others, there are simple 2-minute DNA tests, secret databanks, and government files. Can't represent a client you don't really know, after all.

We weed out the ones without families, focusing on the loved, the cherished, the kindly family people. And we send our agents out, some time after the hero has left for work, or on a patrol. Because the Firm gives the services the heroes need, not only those they want. Because only the tragic hero is real, because we are defined by our loss, the sum total of regrets. Because a pure hatred can make a hero that no idealism can truly foster.

Because they could be great, and if their families must die to save the world, this is the price paid. We include it in the miscellaneous fees, when we do not do it for free.