Jul. 29th, 2018

[personal profile] history79

WIRED.COM: Were you more influenced by original film noir auteurs like Raymond Chandler, Jim Thompson and Sam Fuller, or their postmodernist revisionists like Quentin Tarantino?

BRIAN AZZARELLO: The original auteurs. And I consider 100 Bullets to be postmodern noir.

WIRED.COM: What are your thoughts on noir's substantial creep into cultural narrative, especially that of superheroes?

BRIAN AZZARELLO: I’m certainly guilty of it, which is probably why devoted readers of superhero comics scream bloody murder when I dissect their icons looking for flaws. That’s essential, though, in noir. A character’s flaws drive the story. It’s what attracts me to the genre. I’m interested in damaged people because we’ve all been roughed up in one way or another.

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[personal profile] shakalooloo
The year is 2012, passing into 2013. Al Ewing is writing for 2000ad. His artistic collaborator is Henry Flint, with their delightful creation Zombo, the half-zombie government weapon / super-hero. Zombo is fun, but for this post let's take a look at the president that runs the government responsible for his creation (the Government is Your Friend!)...

Trigger warning for gore, although it is over-the-top, ludicrous splattergore.

>20 pages from 100, 2000ad progs 1740-1749 & 1825-1834

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[personal profile] laughing_tree

It wasn’t enough to simply create an extraordinary and original universe, it also had to feel functional, y’know? Lived-in. We wanted to create a world which didn’t feel like it simply disappeared the moment we, or our readers, looked away from it. That sounds crazy, but you’d be amazed at how many sci-fi or fantasy worlds exist purely to prop up a single story, or a single McGuffin at the heart of that story. With The Spire we’ve set out to make an incredible and fascinating place, then we’ve changed our focus onto characters and stories which are even more incredible and even more fascinating. For all its awesomeness, if we’ve done our jobs right the world should feel like the least interesting part of the package. -- Si Spurrier

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[personal profile] history79

SEAN FAHEY: What I immediately found interesting about this story was the setting. It’s somewhat unconventional for a Western. Missouri. The Western Confederacy. Reconstruction. At best a loose federal government. A lot of resentment. Probably the most lawless period in our nation’s history. What does this period bring to your story that the conventional Western setting does not?

BRIAN AZZARELLO: It’s the part of the war that we’re not supposed to know about really. What immediately attracted me to that setting when I was doing this was what we’re going through right now – with an occupied nation. It’s very similar. The South was for all intents and purposes occupied. And the Haliburtons and Bechtels of the time were going down there and making some serious money with the government’s blessing. It was completely lawless, and what rules they had were being made up as they went along.

This was also a time when people were promised one thing and it was only delivered very, very briefly. Then it was taken back. No one was happy. The war was over, and no one was happy. Everyone was getting screwed. People were asking, “Was the war about slavery? I don’t know.” They were asking “We fought about this? But we didn’t make a change. They’re free but they’re actually in worse shape than they were before.”

Source: https://trouble.city/chudcom/4711/thors-comic-column-brian-azzarello-interview

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