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[personal profile] laughing_tree


Warning for rape

Media representation of these things as serious and real and scary may have gone away, but out there in popular culture they're still abducting people. The mythology has rolled on; in fact, it's gained a huge number of dimensions since the end of The X-Files. The Lizard Men have arrived and started infesting our royal families, things like that. The Grays have now become this inflatable cartoon figure. We've got this word: "probing." We have a funny word for anal rape! This is because we're terrified. We're scared that this might be true. And that fear has led us to take this bogeyman and make this court jester out of it. It's fascinating. -- Paul Cornell

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[personal profile] laughing_tree


We're not a series about definitive aliens with ships and names and guns and plans. We're a series about encountering the numinous, about the grey areas of mythology. I always say we're a political thriller about the romance of the UFO. -- Paul Cornell

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


Trigger Warning: Rape

I spent my university years wondering if I had "missing time"! So this title is sort of the story of my life. I always used to read scary, true-life UFO books. It's something I've been researching, as it were, since I was about eight. This wonderful, original American mythology -- like jazz is an original American nform. -- Paul Cornell

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[personal profile] laughing_tree


The key thing is that it’s politicians, not the military or some sort of special team, that become involved with UFO mythology, so this isn’t about firefights and a standard “alien invasion.” It’s much more about [UFO] mythology itself, and how that myth has been shaped by, and actually done its part in shaping, America. -- Paul Cornell

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[personal profile] laughing_tree


"We all know someone like Lou: the one who strives so hard to be organized, to be ambitious, to participate in the anodyne rat race around her like a good little consumer ... but just can't do it. She's got too much chaos in her. The tragedy of Lou, and a billion people like her, is that nobody's ever told her it's okay to be chaotic." -- Si Spurrier

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"The werewolves of London are chihuahuas compared with the hardier breeds we have out here in the regions. With Cry Havoc Si Spurrier, Ryan Kelly and their ingenious colour and design cohorts unveil an electrifying account of black ops, black dogs and weaponised folklore that is unlike anything you've ever seen. Best in show." -- Alan Moore

"The supernatural spec-ops comic for grown-ups. Literary, human, complicated, bloody, horrible, compulsive." -- Kieron Gillen

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[personal profile] history79



"I think The Howling is great, I really respond to the notion of something secret crawling out into the open. The stuff at the end in particular is quite cogent to what goes on Cry Havoc, but for me it has got to be An American Werewolf in London. Its use of werewolves as a lens through which to see a new take on the characters and to the way it introduces comedy to the story – I’m thinking specifically of that amazing scene in the cinema with all the rotting corpses. I like the idea that you can use these supposedly quite conventional, supposedly ‘rule-abiding’ monsters, in a way that isn’t really about the monsters at all. It’s about the character, the culture, or whatever it may be. Also, Jenny Agutter, which is all I really need to say about that, so all other arguments are invalid."

- Simon Spurrier


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[personal profile] superboyprime


"In the 1960s, it was the Cold War and the space race. What could take us up there? The idea of aliens being up there, and then it all fell into place." - Charles Soule

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[personal profile] informationgeek
survivors'club01cover

"For many, the ‘80s along with the ‘70s was a golden era for horror films. A lot of those films from then are deeply ingrained in pop culture. We all know the story of The Exorcist, A Nightmare On Elm Street and Friday The 13th and so on. They have almost become our generation’s fairytales. We draw a lot on that mythology in Survivors’ Club, but we take it in unexpected directions." - Dale Halvorsen

"Brainy, ambitious and delightfully scary, Survivors' Club is a throwback to books like The Sandman and Hellblazer that made Vertigo a legend" - Joe Kelly, Locke & Key (quote on the front cover of the issue)

Writers: Lauren Beukes and Dale Halvorsen
Artist: Ryan Kelly
Colorist: Eva De Cruz

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[personal profile] informationgeek
Vertigo is to me what Image Comic seems to be others. While everyone gets excited over whatever Image puts out, Vertigo does that for me. It's produced some my favorite comics of all time (Fables, iZombie, Scalped, Saucer Country, and The Unwritten), but it has been falling on hard times recently. This imprint barely had any new titles at all!

...that is, until just recently...

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Three #5

Apr. 16th, 2014 09:11 am
arbre_rieur: (Default)
[personal profile] arbre_rieur


"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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Three #4

Mar. 18th, 2014 08:51 pm
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[personal profile] arbre_rieur


"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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[personal profile] arbre_rieur


"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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Three #2

Dec. 16th, 2013 05:40 pm
arbre_rieur: (pic#6014854)
[personal profile] arbre_rieur


'Basically, a story about everything relating to Sparta which is left out of pro-Spartan descriptions. You know, all the things which made Hitler think of Sparta as his model of a racialist state.

'It's an equal and opposite response to the view of Sparta presented by "300."'
-- Kieron Gillen

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Three #1

Nov. 8th, 2013 10:43 pm
arbre_rieur: (Default)
[personal profile] arbre_rieur


“I came home from these regular monthly drinks that we have in London and grabbed one of the nice hardback comics next to the bed–and in this case it was [Frank Miller's] 300. I picked it up, flipped through it, really not very much paying any attention to it. And one of the speeches about ‘The only free men the world has ever known,’ and literally had a moment of incandescent rage and shouted at the book, ‘You hunted slaves!’ And at that second the entire plot of Three downloaded, including the twist, the structure, everything.” -- Kieron Gillen

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