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[personal profile] laughing_tree

"For a high-concept which, let’s be honest, feels kinda niche the first time you hear about it, MZ’s proven to be a wonderfully flexible franchise, and given us a lot of genuinely high-quality tales. Previous iterations have covered the whole gamut of genres and tones from the apocalyptic world-shaking scale down to the very personal, and from the deadly-serious to the fabulously farcical. We’ll get onto the whys and wherefores of that in a moment, but for an ideas-junkie like me the opportunity to carve my own name onto that dribbly, rotting, groaning slab of meat is a total gift." -- Si Spurrier

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[personal profile] laughing_tree

"There’s also something really joyous to be had in the simple creativity that comes from re-imagining recognizable characters in a new form. That’s what drives fans’ fascination with the whole What if?/alternate version phenomenon, I think. It speaks to a fundamental human excitement for variation, transgression, speculation. Hence part of the joy in something like MZ is providing inventively-realized versions of well-known characters. That’s something I’ve had a looooot of fun with. Sometimes that manifests as simple sight-gags (zombie Blob heaving his moldering rat’s-nest of a body; zombie Carnage becoming a crusty scabrous mass, etc), other times it becomes a far nastier plot-point…" -- Si Spurrier

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[personal profile] laughing_tree

'One of the problems a lot of zombie stories face is the lack of agency on the part of the protagonists. That can be a really cool subversion of regular narrative dynamics (and, in one or two toxic cases it chooses to say a lot of very cynical thematic stuff about the pointlessness of individual resistance)… but quite often it’s also just laziness: the “story” consists of people screaming and flapping and running around in a really passive way. When the subtext of your zombie story is “hey, zombies are really scary – cool!” then just don’t bother, y’know?

'We’ve flipped things over a lot, here. All the agency and all the proactivity lies with our heroine. Thematically the zombies aren’t stand-in analogues for the usual societal fears of lone predators or uncontrollable mobs; rather they represent an ambient sea of obstacles. This isn’t a good world which has been invaded by a corruptive element; it’s an irredeemable, unsalvageable land of pure corruption from which Elsa must try to escape.'
-- Si Spurrier

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[personal profile] laughing_tree

"Zombies have been used as a very useful metaphor before now, most often for societal and cultural concerns: corporate greed, media mediocrity, unmoderated science, whatever. With this story I’m far more interested in turning that inside-out and making them useful as the negative ambient force in a far more individualist context. Elsa is very much the star of our show, and the undead hordes of the Deadlands become a really elegant analogue for the emotional and traumatic forces which seek to overwhelm her internal self. She is literally fighting to keep going, inside and out, pushing onwards against deadly inertia and overwhelming odds, because it’s the only way she knows how to survive." -- Si Spurrier

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[personal profile] superboyprime

"No one talks about these event comics years down the road unless they are a disaster, cost jobs, and crash the market. Just finished SW 8." - Jonathan Hickman

9 pages out of 37 )


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Scans Daily


Founded by girl geeks and members of the slash fandom, [community profile] scans_daily strives to provide an atmosphere which is LGBTQ-friendly, anti-racist, anti-ableist, woman-friendly and otherwise discrimination and harassment free.

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