"There’s a lot of deceptively light-footed complexity in much of Kieron [Gillen]'s writing – I’m thinking now primarily of his weirdly symbiotic and merged collaborations with the excellent Jamie McKelvie, like PHONOGRAM and THE WICKED + THE DIVINE – where you can see a dance-like or musical sensibility creeping into the storytelling, a kind of fluorescence that he brings to his work from a dance culture that he’s grown up with and that I’m largely unfamiliar with in first-hand terms. I recall Brian Eno talking once about how despite his usage of it, he didn’t really like computer technology, because in his words there wasn’t “enough Africa” in the technology, by which I think he meant that it didn’t involve enough physical rhythm or ecstatic sway, something which I think Kieron’s best writing aspires to and reaches. He’s also possessed of an admirable range in his storytelling sensibilities, and effortlessly avoids using the same special effect twice or continually banging away thematically on a single note of the piano, for that way lies Frank Miller. Speaking of whom, Kieron’s breadth is such that he can move from an insightful riposte to the inane 300 in his splendid 3, through some perfectly-pitched YOUNG AVENGERS space-dust and some fit-inducing PHONOGRAM strobe effects, to the remarkable and probably gaming-influenced complexities of ÜBER, currently one of my very favourite comics, and a series to which I hope I have made a tiny but significant contribution that may be apparent in the long-awaited next arc." -- Alan Moore
And the issue's back-up story:

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Date: 2016-12-04 10:40 pm (UTC)Interesting how these are the most mysterious gods in-universe (especially with the Morrigan magazine interview) when in reality they're treating godhood as one big LARP-fest.
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Date: 2016-12-06 03:07 am (UTC)no subject
Date: 2016-12-06 11:10 am (UTC)