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I quite liked the latest issue of Darth Vader, which I picked up today.  I thought I'd share my favorite moment from it:
Now or Later? )
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"It reminded me of this interview I had a chance to have with William Gibson but I turned it down because I hadn't read his last couple of books and I was sure there were other people who could do it better than me. With Vader, I sat down and was sure that I was the person who could write this because at Marvel I'm the guy you get to write bad guys. That's what I do. There's no-one else as evil as I am." -- Kieron Gillen

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"I’m still not sure what I make of [Grant Morrison's] Pax Americana. I mean that in a literal way. I’ve owned two copies and lost both of them on the way home. One was left on a train, heading far to the south. One fell out my pocket when running for a bus in New Cross. Alcohol may have been involved in both stories. I read it several times in the space, and I’m not sure which side of the reading I’m on – the two takes are either that it’s a We-can-do-this-too-if-we-want piece of formalist arguable defensiveness or it’s a celebration of what that form of oddly hermetically sealed comics can do. Or both. But I did find myself thinking about the nature of that kind of 6-year in the making concept-rock prog thing and thinking of [issue 8] as a bit of a riposte to all that, in terms of being ramshackle and thrown together in a month and formally challenging in its own way but very much designed as a pop object with edges." -- Kieron Gillen

Dionysus: The Dancefloor That Walks Like a Man )
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'[Woden's use of the term] “Nice Guy” is as loaded as the gun on the next page.' -- Kieron Gillen

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Uber #22

Mar. 6th, 2015 06:55 pm
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"Also out today: Uber 22, with all the end of arc fun. I say fun. I don't mean fun. You know Uber. You know what I mean." -- Kieron Gillen

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'There is room for different expressions of Angelic cultural values. There's probably a conflict between how they view friendship on a societal level, which I suspect might be a kind of Ayn Randian Objectivist view. That might be a hard philosophy of Angels. There might be some Angels who don't believe in friendship versus other ones who have expressions of friendship perhaps not encouraged by the system.

'That's kind of my reading of their system. The more complex readings there are of Angels would be the more interesting one for me.

'We can also look at our relationships. We say our concept of friendship is based on altruism, but we can always ask, "Well how much is it really?"'
-- Kieron Gillen

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"THE WICKED + THE DIVINE is unlike True Detective as: it features women who do things. THE WICKED + THE DIVINE is like True Detective as: we shamelessly rip off huge chunks of stuff from Alan Moore." -- Kieron Gillen

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Uber #21

Feb. 23rd, 2015 11:18 am
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'The first thought when William proposed Uber was "can I make this interesting?" The second thought was "can I make this ethical?" ... Then there's the question of could I do a story that I considered ethical in the Avatar style? Consider this exact same story fired through the art filter of someone like James Sturm, and suddenly a lot of lines of criticism vanish. To that end, Caanan and I have tried to have a focused approach to the content. As much as it's possible, we try not to make the violence thrill. This is primarily a war story, and secondarily a horror story. This isn't violence as a stylistic element, but violence of flesh tearing. The rape scene in the first issue is something I chewed over again and again, before deciding that if there were 1.5 million rapes in that campaign, not showing it in a realistic-mode story was a worse crime than showing it.' -- Kieron Gillen (emphasis his)

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'I suspect people will read the book and say “Oh – is that god based on Random Pop Star?” And that’s fine. That’s part of it. And in some cases, they’re directly inspired by a thing, but they grew and became something else. We start thinking about cultural archetypes. I mean, Amaterasu would fit into the broadest lineage that’d include everyone from Kate Bush to Stevie Nicks to Florence Welch. Baal fits somewhere on the continuum between Bo Diddley doing “Who Do You Love” and Kanye doing “Power”.' -- Kieron Gillen

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'Star Wars is enough to drive any fair-minded observer of popular culture insane. I sit in horror, watching otherwise sane-minded individuals wander out of the latest cinematic monstrosity cursing George Lucas' name only to - a handful of months later - go out and buy the DVD anyway "for the extras". You scratch your head at the AintItFatFacedAmericansInTheirBasements somehow claiming the original trilogy were the high points of cinematic history, when only Empire stands up as anything more than campy high adventure and Jedi is covered in a frankly embarrassing Ewokitis. And you grit your teeth as reviewer after reviewer adds twenty percent to a game's score because it's got Stormtroopers and the real Lightsabre sound effects. In short: I hate Star Wars.' - Kieron Gillen

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'One of my reservations about this was that if you do a superhero comic and even touch on the idea of celebrity, it's almost always very critical. It's always "Oh, look at these guys, Superman's much better because he doesn't do cocaine." And the idea that none of these young kids really know what they're talking about - basically a very old white conservative view. Whereas in The Wicked + The Divine we take a more... trust me, we're hard on these gods, but also kind of like "Yeah, saving people's lives, no matter how you choose to save their lives, is a worthwhile endeavour."' -- Kieron Gillen

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"We want to make a fantasy world for people to fall in love with, from scratch, to be about the world as we find it in. I mean – remember how amazing Buffy or the Matrix were in the 90s? They had obvious huge sweeping influences (Buffy being Whedon processing his love of '80s Claremont, The Matrix being streamlined '90s Vertigo – and both being superhero universes stripped of almost all the pure-genre tropes purged) but they had that authorial firmness of a place you could lose yourself in.

"Basically, we want to do something like that."
-- Kieron Gillen

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"The problem is less what a character wears, and how an artist chooses to frame the images. You can have a girl dressed in the most practical gear in the universe, but if the artist chooses an ass-shot, it’s cheesecake. We’re not doing cheesecake. We’re doing the scariest woman in the galaxy." -- Kieron Gillen

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Uber #20

Jan. 24th, 2015 10:05 pm
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"Having Mengele involved in a universe where some Nazi procedures were successful implies that Mengele's work could have merit, or at least lead to functional results. This is one reason why I separated Sankt's project from the Holocaust as much as I did, after all. You can judge whether my solution with Mengele was satisfactory or not." -- Kieron Gillen

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Uber #19

Dec. 6th, 2014 02:16 am
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"There's a lot of Miracleman's war-as-surrealism in Uber, especially in the Tableau mode." -- Kieron Gillen

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Uber #18

Nov. 6th, 2014 02:20 am
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"Early in the issue, I dropped [Jonathan] Hickman a line to ask his opinion on how to stop the bomb if you had to. He basically noted that as there were so many geniuses in the mix, it was always going to happen, and that the best strike would be against the organisational size - i.e. Groves himself. I'd agree with that, but I also knew that with my timeline, that was going to be too late." -- Kieron Gillen

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Uber #17

Oct. 25th, 2014 07:27 pm
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"Uber relaxing into a three- and five-panel structure is something I find fascinating. Three-panel is something I connect intensely with Warren Ellis (and Millar, though never in this mode). Five-panel storytelling is Garth Ennis." -- Kieron Gillen

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