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"We've got this kind of miniature movie. We saw this as an interesting way of testing where the characters are. We test Han's understanding of Leia. We test Leia's drive to deal with Alderaan, and Vader's an enormous symbol of that. So you get your core characters chasing various things around this small planet." - Kieron Gillen

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"Bar the movies, my main influences when thinking about the series are The Godfather and House Of Cards. In other words, I’m looking for compelling, fascinating, horrifying and understandable – but not necessarily sympathetic. With all our cast, I want people to not be able to look away – and still, in it recognise something true about us as living creatures." -- Keiron Gillen

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"A thirty page special and a done in one espionage story. I’ve been hitting the big archetypes in my Star Wars work, and this is very much hitting another one." -- Kieron Gillen

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"When we called it ‘Vader Down’, we kind of believed the title should say something. The idea of Vader’s TIE fighter going down in a situation that is somewhat perilous. The original working title was ‘Get Vader’, and that might be the other sort of clue as to how things may play out." - Kieron Gillen

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'One way of describing Phonogram would be that it fits into a middle ground. It’s a comic that uses much of the pulp idiom but is trying to engage with more philosophical topics. File next to things like, say, The Sandman, The Invisibles or Transmetropolitan.

'“Middlebrow” would be the term some would use, but I’d reject that dichotomy as hard as I’d reject anything, and I consider people who view the world in that way as my active aesthetic opponents. I think of Phonogram as “anti-brow”. I hate the polar dichotomy in all art, and Phonogram’s merging of pulpy tropes and literary nonsense was my attempt to try to mirror pop music itself.'
-- Kieron Gillen

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"I've written essays on this before, but the biggest problem in comics isn't the costumes, it's how an artist chooses to frame a character in the storytelling. A character can be in jeans and a sweater, but if she's pulling ass poses for the reader, it's much more objectifying than a Jamie McKelvie Emma Frost. Luiza is our lead, and had to be our lead. We empathize with her. We are her." -- Kieron Gillen

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'It's kind of hard to explain the EU to people who don't follow the Star Wars fandom in depth. There are multiple continuities -- what's in continuity? How in depth can you get? It's like "Crisis on Infinite Star Wars". We're in a position where we need to clear house and there's a huge sprawling forest. It's a very brave move that no-one's really done before. [Lucasfilm has a] story group and their task is very focused -- it's like this meta-myth and all the stories will be canon in a way they never were before.' -- Kieron Gillen

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'Following some of the commentary, I suspect this is the first time in all criticism that an artificial sun above Hiroshima has been considered “too subtle.”' -- Kieron Gillen

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'There’s no scientific underpinning for why music affects us profoundly as it does. There are a few ideas about how it works, sure – but no “why”. Something like music, which does everything from changing your day to changing your life for no reason, may as well be magic. It’s certainly the closest thing in real life to it.' -- Kieron Gillen

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"I confess I don’t read many comics these days, chiefly those by my current Avatar stable-mates. So that would be Garth Ennis’s always-powerful War Stories along with anything else that the man happens to put out; Si Spurrier’s excellent and reinvigorated Crossed + 100 and his forthcoming Cry Havoc from Image; Kieron Gillen’s spectacular Mercury Heat, Phonogram, The Wicked + The Divine and, whenever he gets his lazy arse into gear, the next run of the exemplary Über; and, as mentioned earlier, the incredible Brian Vaughn’s concept-crammed Saga." -- Alan Moore

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'Both Marguerite and I are big fans of the real world period and Neil Gaiman. So the idea of me doing Gaiman style material is not exactly a new riff. "Journey Into Mystery" very much could be read as dancing with "The Sandman." In fact there are explicit sections of "Journey Into Mystery" that are engaged with "The Sandman." My Nightmare was sort of explicitly a "Sandman" piss take. I say that with love.' -- Kieron Gillen

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"A straight fantasy approach suggests that even the idea of music as a transmutatory force is fantastical, as ludicrous as believing fairies are waiting at the bottom of your garden. The non-fiction approach leaves it dry and historical, a piece of pure explanation with none of the raw poetry and inspiration that narrative allows, and is all too important in pop-music. And pure autobiography reduces everything to a grey sludge, the hammer of honesty flattening everything to a vague nihilistic description of 'just what happened,' but misses out what actually happened. Phonogram is about the tension between these three poles, which is the only way I could express the entirety of how pop music works." -- Kieron Gillen

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"A key element of the traditional superhero comic -- the thing that actually divorces it from science fiction -- is that there are these entities of incredible power, but despite all this it doesn't change the world in the slightest. Hence the persistence of the thrill of looking at your neighborhood fence and imagining a geeky teen gifted with arachnid powers propelling him over it at enormous velocity or the local school being razed beneath the fists of a towering green man. It contextualizes these characters into your everyday life. Equally, like the Transformers, through secret-identities there's this insertion of God-like figures into the human world. Superhero comic' closest genre neighbor is the modern fantasy, despite its science fiction or crime tropes." -- Kieron Gillen on urban fantasy

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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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