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laughing_tree

It's been a lot. Apart from the roller-coaster action, we got to cram in all manner of timely stuff. I'm writing this two days after the Queen Died, which definitely feels strange. I remember the week after issue 2 dropped, Ram V leaned across to me in a bar. "You know all those interviews where you said it wasn't political"? he said. "You were lying." Well, yeah, but my cold fury at the world was only part of it. Family, the secrets they hold and the damage that causes was always in Once & Future, but the further I got in, the more that became central. I just welled up when I saw the final page. -- Kieron Gillen

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laughing_tree

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laughing_tree

Content warning: Gore

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laughing_tree

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laughing_tree

We haven't quite got to Monty Python yet, but that's not impossible, either. -- Kieron Gillen

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laughing_tree

My plan was to take things down a gear and do a sort of mystical Walking Dead bit survival horror for a while. And I kind of did… but there’s a moment in this first issue where I looked at the spectacular ultra-high octane berserk action of Dan’s art, and realised that whole grounded thing may have gone out the window. And I love that. -- Kieron Gillen

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laughing_tree

If you're not doing Lancelot as LITERALLY GREW UP IN A LAKE you are a COWARD. -- Kieron Gillen

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laughing_tree

Some of it is just trying to make things which felt absolutely sharp edged in a period feel sharp edged again. There’s a tendency for works to become quaint with societal shifts – to choose an example which isn’t really relevant to “O&F,” once brutal swearing just comes across as comedy, for example. There’s also limits on what you can reclaim – when I was writing “DIE” and researching the Tolkien episode, discovering Tolkien was twitchy over reclaiming the word “Elf” which had been turned into something far cuter than he was considering. Even he drew the line at Gnome – all the Noldor elves were originally “gnomes” but he realized that the little garden gnomes had moved that beyond reclamation. -- Kieron Gillen

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shakalooloo

With various interpretations of King Arthur being featured here recently, why not go back to 1996-7, when 2000ad's resident barbarian warrior, Sláine, got involved with the legend? A more sympathetic take, from writer Pat Mills and artist Dermot Power...

(apostrophes better applied in-panel than on that back cover!)
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laughing_tree

Honestly, I would say it's dumb as balls. I think I said this in a newsletter recently: It's the smartest dumb book on the market. Or possibly the dumbest smart book! I don't know which. -- Kieron Gillen

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laughing_tree

I’m a critic so I’m interested in talking about stuff. My problem in talking about stuff is that I am hyper aware of what has come before me. I’m not sure if I could write something that wasn’t deconstructionist, because I lack the naivety to think what I’m doing is original. -- Kieron Gillen

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( Well I didn't vote for you... )

Current Mood: drained

laughing_tree

The Englishness of the story, the idea that a dumb version Englishness is a story that has driven us to distraction and bad decisions. Britain is an addict still recovering from the high of empire. -- Kieron Gillen

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Okay, the book’s not actually called that, but that might as well be the motto for this run.

( Sorry, Si Spurrier... )

laughing_tree

Once & Future assumes that stories are just bad. Because it is a horror book, it takes the idea one step further than you can believe. Then you wrestle with it with the volume turned up with the idea that stories are parasites that are trying to kill us. If you watch Twitter, you start thinking that it might be true. -- Kieron Gillen

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laughing_tree

My favorite thing about comics is that basically, comics is a real equal playing field to get an artist and a writer, or an artist by themselves really, and then 22 pages later it doesn’t matter if you’re from Marvel or DC or anyone else — you’re all basically doing the same thing. For me, Once and Future is better than anything Marvel or DC is putting out and it’s doing a similar sort of thing because this is a fun action comic. But with totally new characters with a strong mythic bent. I quite like you can do something that is utterly mainstream but with the volume turned up and the freedom that you allowed to do from a clean start. Dan is a mainstream pop phenomenon. People who read the book, it’ll take the top of their heads off. -- Kieron Gillen

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laughing_tree

I saw several people say they were a little lost [with issue 17] – which is an irony, as I swear the bit that has lost people is where I just explained Merlin’s plan. -- Kieron Gillen

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laughing_tree

I remember the week Once & Future 1 came out, and being in the pub with Ram V. He’d just read it, and noted that all those interviews where I said it wasn’t really a particularly political book? Kieron! You were totally lying! Well, kinda? I was trying to ensure that no-one came to it expecting a Joe Sacco book. Speaking to my own canon, it’s doesn’t have the societal weight of something like Three. It’s very much a 2000AD type of political energy. It’s mainly giggling. But it’s giggling angrily. -- Kieron Gillen

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laughing_tree

Oh, I'm not that destructive. What I do as additive, showing another angle on it. Arthur has been used for the last 1500 years in various ways, for various purposes, to talk about the matters of the day (or the Matter of Britain, if you will). This is just another take, another way of thinking about Arthur which is relevant to their times. People always say heroes speak to their times, but I think that includes understanding that in some times, and some perspectives, heroes can be villains. -- Kieron Gillen

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laughing_tree

O&F has a weird sort of striding energy to it now? It’s clearly not experimental work, but it is very free work. I sense that the readers are enjoying seeing us clearly have so much fun. -- Kieron Gillen

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