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[personal profile] laughing_tree


"Yes, the Bond of the books was casually sexist, racist, homophobic and a dozen other unpleasant things, including, let's not forget, a murderer. In my Bond story, he is clearly a man who respects competent colleagues regardless of any other value, because, yes, it's the 21st Century -- but I would also suggest that someone can be a misanthrope without being a bigot." -- Warren Ellis

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[personal profile] history79



"I lifted that classic kind of American horror film structure, where two attractive young people go somewhere to have sex and are punished for it by their world turning to shit. Patton Oswalt said it best: ‘There’s nothing in the woods! Gimme some of that pussy! CHOP!’ Simple structure, simple goal– get through the town full of zombies to jump in the boat and escape– and the fun is in what happens to them along the way."

- Warren Ellis


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[personal profile] laughing_tree


"Honestly, I think the set-up is so simple, but the character runs so deep and strange, that I just hope other people are as fascinated by the weird little bastard as I am. He does incredibly altruistic things for really kind of screwed-up deeply personal reasons, and does them in such a violent and misanthropic way that he might actually be the villain of the piece." -- Warren Ellis

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[personal profile] laughing_tree


'I landed on this while reading Umberto Eco’s last book, “Numero Zero,” which reminded me of Gladio and the ‘stay-behind’ forces embedded in Italy after World War II. I’d been looking for a way to introduce asymmetrical warfare and modern combat conditions into Bond without being too clunky about it — AQ, Daesh, the movement of money, all the stuff that didn’t necessarily pertain when Fleming was writing. Just as “Vargr” was about drugs, a subject Fleming barely grazed.' -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"I tend to think of the ‘Bond Girl’ thing as a movie thing, and also kind of dismissive and bullshit. There is usually a female presence in the books, of course, because that’s the nature of Bond himself. 'Eidolon' has more female characters than 'Vargr,' but I don’t conceive of them as ‘Bond Girls’ per se." -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"There’s clearly something wrong with the man. It’s one reason why the Bond of the book is so compelling, but it’s also the action of a man in love with death, inviting the potential of his own." -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"When Fleming was writing, the locales were difficult for ordinary people to reach, which added to their exoticism. These days, most of them can be reached by Easyjet or Ryanair from a regional airport. In VARGR, I can get the same exoticism from the atemporal strangeness of East Berlin, which still looks like a Communist district, and from places like remote Norwegian islands that are comparably difficult to reach. And Helsinki’s in there because I just wanted somewhere Brutalist and miserable, which chunks of Helsinki certainly are. I couldn’t bring myself to take Bond to Helsinki’s black metal karaoke bar." -- Warren Ellis

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[personal profile] laughing_tree


'I'd like readers to come away saying, “wow, that was astonishingly bleak, and he worked really hard to get those three bad jokes in there, and why can’t I stop crying and do I have enough cash left to buy a bottle of bleach to drink.”' -- Warren Ellis

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[personal profile] laughing_tree


"I’m an idiot for deciding that writing a book about a guy who can karate-chop stuff to death required me to read several volumes of mind-crushing nihilistic philosophy. Karnak is completely mad, and espouses the most depressing ideas imaginable..." -- Warren Ellis

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[personal profile] laughing_tree


"The nature of Bond’s role in the world hasn’t really changed. Fleming was certainly responding, in several ways, to the end of the British Empire — sometimes in fantastical ways, sometimes, I think, in melancholy ways. Sometimes there was denial, sometimes acceptance. Which is entirely apt, because any secret intelligence service has to believe it serves a need. It was coming, in the 50s and 60s — Britain as a smaller thing in a bigger world. I can pursue that while remaining realistic about Britain’s lack of real importance on the world stage." -- Warren Ellis

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[personal profile] laughing_tree


'Somewhere in there is the notion of “hauntological fiction,” I think, which was a passing concern of a certain kind of artist here a few years back. But, also, look at what’s happening here — these are staples of a certain side of British popular fiction post-war, from Quatermass to Doctor Who to Doomwatch and The Sandbaggers and so on. It’s the British Weird. And also why living through the 1970s was so terrifying and scarring.' -- Warren Ellis

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[personal profile] laughing_tree


"I've always been more interested in the Bond of the books, fascinated by the ways in which Fleming showed the toll the job took on the man, and the man himself: a little dull, a lot cruel, not quite fitting in the world, living on a high wire." -- Warren Ellis

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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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