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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Uber #16

Oct. 22nd, 2014 01:11 am
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"As a British White Dude I'm painfully aware that I'm going to have to step carefully writing American race-related issues." -- Kieron Gillen

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Uber #15

Oct. 5th, 2014 12:53 am
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"There had been books done about World War 2 already, Alan Moore had done it, Garth, etc. I thought about it a lot and I was thinking quite meta about it, like a lot of my comics are quite meta. The meta obsession is that all superhero comics are about superheroes bugs the shit out of me. I've said this a couple of times, All Star Superman is a great book. However, All Star Superman seemed to believe that the most important thing that happened in the 1930's was the invention of Superman. . ." -- Kieron Gillen on his decision to forgo any meta elements in UBER

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Uber #14

Aug. 10th, 2014 09:32 pm
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"It's normally dialogue that you quote at people, because dialogue tends to be quotable. Obv. That's often the point. However, occasionally you hammer out a panel description, sit back and think fuck yeah. Or, more likely in the case of Uber, what the fuck have I done?" -- Kieron Gillen

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"It's easy to write a cynical story where you find out that there's an original sin and somebody's done something wrong. It's easy to reveal something dark about a character, but the hard part — and to me the most rewarding part — is to try to figure out a way in which that helps define them as a hero rather than just tarnishes them." -- Mark Waid

"The whole thing involved the pair of us banging our heads against the wall until a story emerged magnificently from the blood smears co-writing." -- Kieron Gillen

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"It's really a superhero book leaning on the fancy side, but how else could it be? A lot of people do celebrity and superhero; that's an old trope. But it's almost always cynical, the idea that just because they did a bit of coke they aren't as good as Superman. And it's like, fuck you! David Bowie saved my life." -- Kieron Gillen

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"It’s quite a hefty one, being 22 pages and totally inspired by my reading around 1970s German Terrorist groups. Luke Haines ruined me." -- Kieron Gillen

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Uber #13

Jul. 9th, 2014 09:09 am
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"This involved a potted history of what happened to Ukraine between 1920 and 1940 or so, and me trying to do my best Big Serious Russian Novelist Pastiche. (You want another, lighter example of the type, I'd not towards issue 14 of Uncanny X-Men where I did a ridiculously lengthy pastiche of Notes From Underground. It's after writing things like that that you do question whether you're actually mentally suitable for writing superhero comics.)" -- Kieron Gillen

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"It doesn't matter if Spider-Man's fighting Galactus — Spider-Man will find a way to beat Galactus. Uber isn't that story. Uber is the story that every single time, Galactus will kill Spider-Man." -- Kieron Gillen

Released on Free Comic Book Day this year, this one-shot is basically a summary of what's happened so far in UBER, a recap which Gillen provides in the form of a historian's research notes and writings for a book they're doing on World War II. He also works in a few hints about what's to come for the series.

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"The period novel in the Marvel Universe feels most unusual for me, especially without a lot of satire. I did some period stuff in Journey Into Mystery and Uncanny X-Men, but I was broadly satirical. I did a whole issue of Uncanny about Dostoyevsky and it was a broad parody. This isn’t, it’s firmly in the setting." -- Kieron Gillen

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'I also always thought this scenario would be creepy, an alien dropping a powerful weapon on our planet and saying, “Right now you have to protect this place.” That’s weird. I thought that this is basically an alien culture interfering with the native culture for reasons of their own interest.' -- Kieron Gillen

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"On average I would say the Marvel Universe is a science fiction universe. There's magic in it, but at its heart it leans toward science. Even its cosmic stuff leans toward science. There's a difference between The Power Cosmic and magic. Its philosophy leans toward the star children and gods and space mysticism, which is essentially science overstretched, as opposed to magic which is a fundamentally different system. Now if you want to flip that around for a second, magic is a lot more important in the DC Universe in terms of its fundamental character." -- Kieron Gillen

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'Really, I look at this as a singular statement of novelistic intent about a character who is iconic and important. To me it’s like “why did you need Dark Knight Returns?” This is a rare chance to do with a Marvel character something of singular emotional importance, to really try to do something like that.' -- Kieron Gillen

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"Logan spends the majority of the issue in his cage. It struck me that a way to capture that claustrophobia would [be] to do the whole issue in an Alan-Moore-esque nine-panel grid. You can even imagine the grid as the bars of a cage, if you see what I mean." -- Kieron Gillen

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'Then there’s the question of what [late discovery adoptees] do with the anger. There’s a famous book about adoption called “The Primal Wound” by Nancy Newton Verrier, which talks about the idea that there is a primal betrayal at that moment early on and it remains in the person’s psyche. Sometimes that negative emotion is transferred upon the parents who raised them or in some cases on the parents who chose to leave them. The question of how Tony feels is ongoing.' -- Kieron Gillen

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