Three #5

Apr. 16th, 2014 09:11 am
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"Strictly speaking, I suspect there’s an analysis of THREE that would argue I fridged Tyrtaois. Depends how you’d define fridging, really. If it’s any character’s death being used to forward another character’s emotional arc, then sure.

"To be honest, I’m ambivalent to a definition that strong. Gratuitous death of a prop character with no life outside of their relationship with the lead to give cheap and nasty motivation for that lead would be my preferred one. The problem with a definition as strong as the first one is that it’s basically in denial of the fact people care about other people."
-- Kieron Gillen

Continuing from the previous issue...

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Iron Man vs. Malekith the Accursed...

'In "Thor: The Dark World" there's that moment where they're basically talking about the quantum bridge and the difference in language between how Asgardians would describe the quantum effects and how the Earth's scientists would. There's a kind of nod toward "aren't these Asgardians silly." That's kind of a comedy beat. I think it's a failure of perspective. How two different people describe the same effect doesn't involve one of them being silly, especially if they're better at it than you are.' -- Kieron Gillen

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Uber #10

Mar. 27th, 2014 01:39 pm
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'People have described the 2000s comic in a variety of ways. I quite like “The Prismatic Age,” the idea that it was the age of analogues, the widescreen era, but for me, it was the Paramilitary Age. All the superheroes were basically in the army. The Avengers were a government organization, and when I was writing the X-Men, I was running it like a very methodical army. Uber is a part of that, that pushed it to this ridiculous extreme, this purely materialistic take on the superhero.' -- Kieron Gillen

Beneath the cut, some pages from last month's issue of UBER...

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Three #4

Mar. 18th, 2014 08:51 pm
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"It's a purer story [than a superhero comic]. There's less need for deconstruction or playing with genre conception. There have been so many superhero stories, you have to move away from the pure archplot to make it work. Hell, in a shared universe, that also changes everything. There's a lot of other pressures, in terms of what's been done before and everything else, and what feels fresh.

"There's been very few stories about Helot slaves on the run. I can move closer to the rhythms of legend, myth and historical fiction."
-- Kieron Gillen

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Three #3

Mar. 9th, 2014 04:49 pm
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"I was going to demonize [the Spartans] as much as the Xerxes troops were demonized in 300, and in the end I wound up much more interested in trying to present an image of how Sparta operated. -- Kieron Gillen

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'Instead of doing just one big [story] I thought, "Let's do a series of stories inspired by the concept of the moon and bring all that stuff back into the main book."' -- Kieron Gillen

Now that issue 22 is out, this is no longer the latest issue, so here are some pages from last month's IRON MAN ANNUAL.

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"It takes place right around the time the German Schlieffen plan for winning that war was was made up. So we're on the cusp of what will be frankly a horrific century and what will civilization mean, then? An earlier draft of the story featured characters like Sigmund Freud and the Futurist movement. That was my original focus. All that stuff is sort of gone, and now I'm really focusing on the characters and what's important there, but in terms of themes, the idea of civilization and how violent it can be is a big part of this story." -- Kieron Gillen

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"We also get some journalism at last. . . . I get to be TRANSMETROPOLITAN Warren Ellis for a few pages." -- Kieron Gillen

Now that the Annual came out this week, this is no longer the latest issue, so here are seven pages from Part 4 of "Iron Metropolitan."

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Uber #8

Feb. 18th, 2014 05:31 pm
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"Put it another way: I'm not entirely convinced the democratic powers would have suffered even a tenth of what the Soviets experienced to defend their own freedom. Or another: as a guy living in a British democracy, I owe my freedom to the Soviet dictatorship." -- Kieron Gillen

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"It really is very 90s." -- Kieron Gillen

Gillen briefly revisits a certain Marvel supernatural trickster he's been associated with. No, not Loki. The other one.

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'I'm doing the wolf pack stuff a little bit more realistic than most people. It's based around pretty current research into how wolf packs work. I said Jack London was an influence, but his science in "Call of the Wild" was a bit iffy. In "White Fang" it was a little bit better, for the period, but still we know now that's not how wolves operate. Wolves, fundamentally, are family animals. A lot of our understanding about dominance comes from wolves in captivity, which is like trying to uncover how human society works by looking at prisons.' -- Kieron Gillen

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"There’s a British designer called Matt Jones that said, the quote is, let me see if I can get it right, 'A city is a battle suit for surviving the future.' Basically, the concept of Iron Metropolitan is, what if the Marvel Universe’s greatest designer of battle suits put his mind to design a city?" -- Kieron Gillen

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"Shockworker was one of my favorite parts of the original story idea. File him next to all the other poetic and sad robots I seem to populate the MU with. He's really charming and very sad." -- Kieron Gillen

(Note: Keep in mind that this is one of Marvel's online Infinite Comics. They're designed to be read on a digital device, with each page replacing the previous one on your screen. When the pages are instead side-by-side, stacked vertically, like in this post, it can make for an awkward reading experience. Also, the format makes page count a tricky matter, but if you count each "slide" as a page, then this is under 1/3 of the issue.)

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"Followers of the Iron Man run may be especially interested, as this is actually part of the larger design of my [main book] Iron Man run. Come the end, we’ll be working elements into my series. Also! Has my new fave villain." -- Kieron Gillen

(Note: Keep in mind that this is one of Marvel's online Infinite Comics. They're designed to be read on a digital device, with each page replacing the previous one on your screen. When the pages are instead side-by-side, stacked vertically, like in this post, it can make for an awkward reading experience. Also, the format makes page count a tricky matter, but if you count each "slide" as a page, then this is under 1/3 of the issue.)

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'It's funny — people say that Comic Tony is so much more responsible than Movie Tony to me, and I find myself thinking, "Well, which one is managing an adult relationship with a serious woman?" I'm not saying they're wrong, but I see the differences as more complicated. And that, for me, is a useful device to make stories that are both interesting and accessible." -- Kieron Gillen

(Note: Keep in mind that this is one of Marvel's online Infinite Comics. They're designed to be read on a digital device, with each page replacing the previous one on your screen. When the pages are instead side-by-side, stacked vertically, like in this post, it can make for an awkward reading experience. Also, the format makes page count a tricky matter, but if you count each "slide" as a page, then this is under 1/3 of the issue.)

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"What most appealed was a story about technology and romance, and a man who is both a futurist and a capitalist and what happens when there's a conflict between the two." -- Kieron Gillen

(Note: Keep in mind that this is one of Marvel's online Infinite Comics. They're designed to be read on a digital device, with each page replacing the previous one on your screen. When the pages are instead side-by-side, stacked vertically, like in this post, it can make for an awkward reading experience. Also, the format makes page count a tricky matter, but if you count each "slide" as a page, then this is under 1/3 of the issue.)

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'I wanted to give Billy [Kaplan] his own mythology; he’s never going to be the Sorcerer Supreme but he might be the Demiurge . . . I wanted to give them a future, because in the long run, all tightly-woven Legacy Characters without their own story or point of their own other than “kids or stated successor of major hero” are pretty much doomed, or at least limited enormously.' -- Kieron Gillen

(Note: Keep in mind that this is one of Marvel's online Infinite Comics. They're designed to be read on a digital device, with each page replacing the previous one on your screen. When the pages are instead side-by-side, stacked vertically, like in this post, it can make for an awkward reading experience. Also, the format makes page count a tricky matter, but if you count each "slide" as a page, then this is under 1/3 of the issue.)

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