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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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"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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'Part of my approach to "X-Leg" was to make David's story modular. His goals and philosophies keep changing and evolving precisely because I want to be able to give readers (and myself) frequent moments of genuine success. Or genuine failure. One of my problems with some ongoing comics is that they end up radiating a sense that Nothing Really Matters -- whatever obstacles are overcome, whatever victories are won or losses are endured, it's only a matter of time before a recognizable status-quo is restored, or things are undone, or perspectives are changed.' -- Si Spurrier

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'"Legacy" often feels best, to me, when it's paced as a series of quite jarring jolts: jumping from periods of extremely dense storytelling to big beats of space and detail and stillness. Very schizophrenic, very unbalancing. Plus there's the very internal and very frank perspective-narration, the oscillating between GrimReal and CrazyDaft, the constant twists and misdirections. All things which -- back to those gross generalizations -- are probably more classic "2000AD" than contemporary Marvel. But, yeah, they feel right for the character and for the book, so that's the way I went.' -- Si Spurrier

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"Moreso than perhaps any other X-characters, Scott’s and David’s lives are utterly dominated by Prof. X’s presence: informing, infecting, influencing and arguably corrupting them from who they once were into who they now are." -- Si Spurrier

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"I suspect that if you ask even the staunchest CYCLOPS WAS RIGHT fanboy how they’d honestly react if a demigod human-supernova with a conspicuous lack of perspective showed-up in his living room declaring that The World Will Be Reshaped whether you like it or not, they’re pretty quickly gonna dial 9-1-1. Maybe Cyclops was right, but he almost certainly went about it wrong.

"Which, hilariously, is exactly the same way our mutual friend David Haller is currently feeling about his father. SURPRISE RELEVANCE!"
-- Si Spurrier

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"I don’t think you’re alone in feeling Cyclops got a raw deal - or, at least, wasn’t given the requisite sympathy and understanding he deserved. Part of what makes the X-books of the modern era so great is that they transcend the hoary old GOOD VS. EVIL bollocks that still clings to a few not-to-be-named comics like a truculent STD [...] So, yeah, in the sometime-simplistic lexicon of spandex, Cyclops really did wind up being the bad guy, just like oldschool Magneto before him. Same basic goals as the X-Men - “make the world a better place for mutants” - but radically different approach. Was he right? Oof, it’s a tough one. I guess my attitude is that he was right, and in a perfect world he would’ve been left alone to create a Utopian Tomorrow. But, hey, who’s gonna trust a guy with more power than Con Edison and blood on his hands?" -- Si Spurrier

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"The book’s gained itself a reputation as a bit of an oddity, receiving effusive praise and critical acclaim from one direction; headscratching and perplexity from another. It’s not quite like anything else on the stands at the moment, and that’s something that makes me prouder than punch." -- Si Spurrier

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"I've always hoped there's room in the Big Two universes for this kind of hyper-personal, hyper-weird, hyper-transient, hyper-hyper story -- the sort of tale that actually can be about someone coming to terms with themselves -- without it also being alienating or pretentious or just plain fucking impenetrable. For now, it seems we're doing okay." -- 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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