James Bond 007: Service

It’s explicitly a book about fading Empire. M16’s roots are in World War 2, and the core of the plot reaches back to there. What is Britain’s place in the world now? What does being British even mean? In a real way, it is a post-Brexit Bond. -- Kieron Gillen

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Star Wars: The Screaming Citadel #1

After several years of writing Star Wars, I submit, and it all goes None More Goth. -- Kieron Gillen

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Doctor Aphra #6

There is one thing in this story that is based on a very obscure bit of Legends material that I suspect people won’t spot. It’s so obscure that even long term Star Wars fans might not spot it and even then they probably won’t notice it until the end, because it’s a complete reimagining of a concept. I mean, to stress, it’s so obscure that I 100 percent don’t expect people to get what I’m building on. It’s just a good idea we’re giving a 21st century spin on. I expect readers to experience it just as this excellent thing that happens. -- Kieron Gillen

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Doctor Aphra #5

The book’s fundamental Indiana Jones quality come from the fact that it’s about an archaeologist in the Star Wars universe. The thing about the Star Wars universe is it’s really, really old. That’s kind of the thrill of it for me — taking a Star Wars thing and doing something you have not seen before with it. -- Kieron Gillen

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Doctor Aphra #4

'There’s a British TV show called “Fleabag.” Aphra is a bit like “Fleabag,” but in the Star Wars Universe. “Fleabag” is about this woman in her 20s who is just this moral monster. The stuff she does is utterly unforgivable, but also very funny to watch.' -- Kieron Gillen

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Uber: Invasion #4

'When I started writing Uber in 2008, that was coming from a “people are now now treating Nazis like cartoons, which bodes badly for the future, because if we don't remember what the Nazis were and why people supported them, it's more likely they'll be back” place. By now, that's a less hypothetical projection.' -- Kieron Gillen

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Doctor Aphra #3

"When I was sort of thinking about Aphra, the core of it was, Star Wars is about these archetypes. Archetypes, if you write them very badly, they become cliched. These very powerful, direct characters. You know, you’re not writing Proust. That’s not the point. The point is to be these big figures. A lot of my work was, 'Okay, in terms of Star Wars, what sorts of characters fit well into that universe?' And it was, 'Oh! The Indiana Jones archaeologist archetype.'" -- Kieron Gillen

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Doctor Aphra #2

"I didn’t see anyone in the latter group [people who thought Aphra should have died] who were women.

"One of Vader’s core stories - and the one with the most tension, as it’s the one whose end we don’t know - was the whole Vader/Aphra story. Is she going to die? I think the division over the end really comes down to who the reader thinks is having agency in the story. For the latter, I suspect they’d describe the Vader/Aphra story as 'Is Vader going to kill Aphra?' For the former, I suspect they’d describe the story as 'Can Aphra find a way to escape Vader?'

"When an escape plan was set up twenty one issues earlier, and the other building blocks for it arranged since, and Aphra’s squirmed between her divided loyalties for that whole time, I do think Aphra earned that escape. I think that removing her agency as a character in favour of a murderous, domineering man whose ego is sated by the rest of the story would have been bad and arguably sexist storytelling, as well as undercutting Vader’s own story by making his victory too simple."
--Kieron Gillen

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Doctor Aphra #1 - "Book I, Part I"

"For a longer time than I think people would realize, I was pretty sure she was going to die. It wasn’t actually anything to do with the fans’ response, it was just kind of the fundamental Darth Vader of it. You know what I mean? The biggest problem with the book was, I had all these characters I genuinely liked, and I made the mistake of putting them in the room with Darth Vader and they tended to not survive that experience. Aphra’s push and pull and whatever, and there was a point where I just kind of literally clicked, and I realized, 'Oh my God, she could survive.' As in, I know how she can get out of it." -- Kieron Gillen

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The Wicked + The Divine #18 - "Don't Call It a Comeback"

"Basically, if something can explode, it will explode. It's Taylor Swift's 'Bad Blood' video for five issues. It's all high heels and detonations, and I hope you enjoy reading it as much as we're enjoying making it." -- Kieron Gillen

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The Wicked + The Divine #17 - "The Lost Cat"

"It’s an issue I was nervous around. It’s an issue which had the potential to be enormously offensive - I had a critic friend of mine who writes well on issues of race and gender look it over to see if there was anything which tripped her up particularly. It was fine, which I thought and hoped it was - but that’s why you get people to look over stuff. 9/10 fuck ups are things you literally weren’t thinking about in the slightest. When the story is one where a black woman has taken on the characteristics of an animal, it’s clearly got the potential to be an absolute racist clusterfuck." -- Kieron Gillen

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[personal profile] ozaline2016-12-09 10:38 pm

Star Wars Doctor Aphra #1

Doctor Aphra is in deep debt to a crime syndicate.

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The Wicked + The Divine #16 - "None More" / "No More"

"There’s a lot of deceptively light-footed complexity in much of Kieron [Gillen]'s writing – I’m thinking now primarily of his weirdly symbiotic and merged collaborations with the excellent Jamie McKelvie, like PHONOGRAM and THE WICKED + THE DIVINE – where you can see a dance-like or musical sensibility creeping into the storytelling, a kind of fluorescence that he brings to his work from a dance culture that he’s grown up with and that I’m largely unfamiliar with in first-hand terms. I recall Brian Eno talking once about how despite his usage of it, he didn’t really like computer technology, because in his words there wasn’t “enough Africa” in the technology, by which I think he meant that it didn’t involve enough physical rhythm or ecstatic sway, something which I think Kieron’s best writing aspires to and reaches. He’s also possessed of an admirable range in his storytelling sensibilities, and effortlessly avoids using the same special effect twice or continually banging away thematically on a single note of the piano, for that way lies Frank Miller. Speaking of whom, Kieron’s breadth is such that he can move from an insightful riposte to the inane 300 in his splendid 3, through some perfectly-pitched YOUNG AVENGERS space-dust and some fit-inducing PHONOGRAM strobe effects, to the remarkable and probably gaming-influenced complexities of ÜBER, currently one of my very favourite comics, and a series to which I hope I have made a tiny but significant contribution that may be apparent in the long-awaited next arc." -- Alan Moore

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