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"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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"Want there to be a season of DW where at the end of literally every episode the alien menace is revealed to be just some guy in a costume." - Si Spurrier

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"Dearly beloved is doing a b/g rewatch of Star Trek: The Next Generation while she works. I now realise I see Doctor Who as basically Q-in-a-box." -- Si Spurrier

"The main challenge I find writing Smith is not to over-write him. He lends himself to train of thought dialogue. Things occurring to him in an instant. Jokes, ideas. He is almost too easy to write dialogue for, which is a problem in itself. You look at a page of script and there's a tonne of dialogue there, and it might be very good dialogue, but comics are a visual medium. If you have a page filled with voice balloons, it's going to be a dull-looking book." -- Rob Williams

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Weavers #2

Aug. 12th, 2016 03:12 pm
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'Super-heroes work gorgeously and entertainingly when kept in, y'know, super-hero universes. Recognisable but distinct, like I said (and yes, “the ancient past” does count). Start trying to impose the archetype upon our own inconveniently complicated, paranoid, connected and irrational world and there are really only two outcomes: one is that you wind-up telling grimhook de-constructivist stories about how kinky, simplistic, silly, impractical, tyrannical or venal the whole notion is. The alternative is that you start teaching a generation of young comicbook readers that we really do (or, worse, should) live in a tidy world where everything can be reduced to good-versus-bad. ... With Weavers I wanted to do something that changed the emphasis away from that tiresome old tension between exaggerated fiction and grim reality (“two tropes enter, one trope leaves”).' -- Si Spurrier

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Weavers #1

Aug. 8th, 2016 04:23 pm
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'Weavers is me blowing psychedelic raspberries at a particular sort of crime story, and a particular sort of super-hero story. The sort, in either camp, which takes itself way too seriously. Said raspberries are delivered by liberally infusing that suit-wearing, power-having, pistol-waggling, crime-fighting, shallow-grave-digging mixture with my present aesthetic of choice, which is probably best described as “Lovecraft-meets-Del-Toro-with-added-smirking”.' -- Si Spurrier

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"With a little extra insight under our belts we discovered that what started out as an amusingly non-pompous, non-thoughtful, non-sensible foil to the Doctor's more machiavellian excesses was recast as a surprisingly complicated and weirdly relatable character. Sure, he's a psycho-killer with a sword, but he's also an eternal victim who's turned his loss and pain into rocket-fuel to keep him going." -- Si Spurrier

Well, Titan Comics finally made their Free Comic Book Day offering available digitally, so I finally have a chance to read and post this...

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"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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"With this 'season,' we're aiming to channel some of the epic, anarchic, inventive, totally unfilmable insanity that we associate with some of the classic Doctor Who comic strip runs... Those of Alan Moore, Grant Morrison, Steve Moore, and so on." -- Si Spurrier

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"In the weeks after the series finished I received dozens of letters, emails and direct message from brave, struggling readers living with all different shades of mental and emotional challenge. They all said the same thing: that David’s example, and his simple little mantra—I rule me—gave them strength in difficult times. There’s no greater sense of accomplishment for a writer." -- Si Spurrier

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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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"There's this ages-old assumption that spandex characters should periodically restore to a recognizable status quo now and then, just so everyone's comfortable with who/what this person is. Oh, maybe the status quo itself changes over time, but -- yeah -- there are always these enforced plateaus. 'Here's who he/she is, here's what he/she does, here's why he/she does it -- now TWEAK - now REVERT - *NOW REPEAT*.'

"The inevitable consequence is that most of the change in these characters' lives -- growth, decay, evolution, devolution, whatever it is -- occurs externally. The rise-and-fall of nemeses, new home, new car, dead cousin, long-lost mother, new boyfriend, new girlfriend (oops, spoke too soon, back to the ex), yadda yadda. But generally, the M.O. remains the same under it all, and typically, so does the character's outlook on the world. I'm generalizing horribly, and yes I can think of a bunch of exceptions -- but I bet if we revisit this stuff in 10 years, most of those exceptions will have restored to their original status quo at least once. Shit, maybe David will've done so by then too -- but I kinda hope not."
-- Si Spurrer

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"What’s funny is — if you ascribe to the view that the spirit of the Mid-80’s was all about reinvention and re-contextualization — I genuinely believe we’re in a similar period of adjustment right now. Things have become so intractable during the intervening period — genre conventions have solidified to the point of brittleness: endless diminishing returns, the proliferation of decompression, the inflexibility of conventional distribution models, all of that — that I really feel there’s a critical mass building-up to a beautiful realignment on the horizon. Genres, formats, moods, expectations — it’s all up for grabs. Given that Marvel have given me this opportunity — to do something deliberately different — I’m in love with the idea that the new Legacy title will play its own little role in that slow seismic shift." -- Si Spurrier

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'There was a point at which readers just suddenly seemed to get it -- the point they realized the book is intentionally the way it is, I guess -- and since then we've been getting incredible reviews with the same little phrases again and again: "Marvel-does-Vertigo," "spandex-with-soul," etc. Which is flattering and lovely and very welcome, but frankly all I'm doing is writing the sort of book I'd want to read.' -- Si Spurrier

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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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