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[personal profile] laughing_tree


They’re both small furry mammals and they’re both plagued by inner pain. But where Rocket is a raccoon—a thief—Castor is a beaver—a worker. In some ways, he’s been poisoned by that; work doesn’t make him happy, his damming projects are creating an environmental disaster, but he can’t stop. He’s driven by the ghost of his father—to achieve more and more, without knowing why. In some ways, despite the fact that Rocket’s essentially a failure and a guy who lost everything that mattered to him a long time ago, he’s retained more of his soul than someone like Gnawbarque. -- Al Ewing

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From 2000AD, Program 2012, comes a complex one-shot by some guy named Al Ewing.

4 pages of 12 after the cut.Read more... )
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[personal profile] laughing_tree


Ultimates2 and Royals are two sides of the same coin – two kinds of “deep cosmic” book – with one dealing very heavily with the kind of giant cosmic archetypes of Marvel, and one based much more in physical space and sci-fi adventure, but still speaking in metaphors and trying to mine out some gigantic new concepts from “out there” and bring them back “in here”. -- Al Ewing

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One of the things I wanted to originally go for with this series was to create a kind of “myth from the future”—a science-fiction quest based on the classical Argonauts/Prometheus model. One of the cornerstones of that was the idea that some meaningful number would venture forth and one less would come back. Someone pays the price for stealing fire from Heaven, and there’s no shortage of likely candidates… -- Al Ewing

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Squirrel Girl faces the challenge of fighting some bad guys. Will she beat the bad guys? She usually does, admittedly, but it’s always possible that this is the time she won’t. I mean, we killed off Cannonball. -- Al Ewing

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When I originally pitched this series, Galactus was going to change back at the end. It was baked into him turning gold in the first place – it was going to be a tragedy arc, a rise and fall. He would sacrifice what he had gained to save Eternity. (Readers saw what this probably would have looked like when Anti-Man sacrificed his life for Galactus back in #6.)

But a funny thing happened. The more I wrote Gold Galactus, the more I wanted to write him, and everything that sprang out of him. Purple Galactus was done – so done that he was a dialogue shorthand, so clichéd that my friends were using him as a joke – but this felt new. An ocean of possibility. So many new stories could come out of this. After a while, turning him Purple again felt like an act of vandalism, like putting a brick through my own window. And for what? The same old rise and fall story? Ugh, I just couldn’t do it. It went against everything in me.


-- Al Ewing

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Pulp-absurdist space heist heartbreak as you like it! Just don't call him Rocket Raccoon! because as we all know his real name is Rocketagar Racoonagon etc -- Al Ewing

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I feel like it’s been interesting playing a little with the definitions of what’s “important”, what “matters”, etc – on the one hand, Ultimates is about literally everything that has ever been in the Marvel Universe, but at the same time it’s not about Iron Man. And I’m allowed to wander off and grow this cosmic garden and make wonderful things out of it because I can do that without stepping on too many toes. We’re operating on such a big scale that it’s almost like when particle physicists reveal that actually the universe is a hologram and all the information of our lives is encoded on the outer walls of spacetime, or whatever it is this week. It’s great, and it blows your mind, and it’s wonderful to know that human beings are able to come together and explore this territory… but it doesn’t pay your bills or fix your car, at least not in a way you can immediately see. So, yeah, we now have an idea that Marvel’s multiversal history is much bigger and broader than we thought – but at the same time, that’s not likely to pop up in a Daredevil story. -- Al Ewing

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There’s a thing readers should understand with this book: we’re not doing business in the normal way. There will be no tie-ins until we get back to Earth. We’re self-contained, telling our own story, beholden to nobody, and we’re on a trip out to the far reaches of Marvel Space, and we’re going to come back changed, and carrying something very special with us. -- Al Ewing

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I’m aware I’m on thin ice with Brian’s fans, but it wouldn’t be Brian Braddock for me if he didn’t occasionally get peevish at the ongoing madness of the world of capes. - Al Ewing

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What is it like, inside The Colon? In the hot, cramped confines of The Colon? How did Rocket end up in The Colon? Some would say that, in a real sense, Rocket entered The Colon the moment I began work on the character. Anyway, to answer your question: The Colon is a dark place, where the squeeze is on and something somewhere stinks. There’s a network of tough guys there—a ring of muscle, if you will—and Rocket has to navigate the twists and turns of The Colon in order to escape through the rear exit. It’s very much a bum note in his life. Anyway, it’s named after the punctuation mark, clearly. -- Al Ewing

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[personal profile] laughing_tree


USAvengers abroad is gonna be so much fun. It's by Al Ewing and Paco Medina, so you don't need me to tell you it's good. -- Nick Spencer

How the team will make it through [Secret Empire] – they won’t, not in their current form. If they did, it wouldn’t be much of an arc, because there’d be no consequences. So not all the team members who come out of this particular crucible are going to be exactly the same as when they went in. And they might not all come out! Cannonball, for example, is a hundred per cent dead. I would never lie about something like that to promote a surprise reveal where he turns out to actually be alive. Never. And I would also never lie about lying about that, or lie about lying about lying about that, so I hope anyone reading this knows exactly how trustworthy I am when it comes to Cannonball’s unfortunate, and definite, death. -- Al Ewing

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If I told you ‘Anyone could die, honest!’... well, you wouldn't believe me. It'd be just more high stakes, like in every issue of every cape comic ever. But if I tell you that someone will die, that it's prophesied, baked in, suddenly there really are high stakes. One of these people is going to go to the far shore and not come back. And you're going to fall in love with all of these characters, so it's going to matter when it happens. -- Al Ewing

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8 is what might end up being the final conflict between Ego and Galactus – you’ll see how that plays out when it drops, but I think it might be the last go-round on that score for at least a few years, and as is my wont, I try to leave Ego in a better place than I found him. -- Al Ewing

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I’m of the opinion that there’s no such thing as a “D-list” character. Every character in a shared universe has something about them that’s cool, or interesting, or worthy of re-examination, which is why my team books so far have tended to feature the less-hyped heroes. So it’s not so much that I want to turn them into something different – the idea is to find something about them that makes me want to tell stories about them, and bring it out. And every character has that something – there’s really no such thing as a bad character in a superhero universe. -- Al Ewing

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I wanted to create a myth from the future, a quest to find answers and meaning in the face of extinction. In some ways, this is similar to my run on [Loki: Agent of Asgard], the thing that'll let me explore ideas of myth and metaphor, that'll allow me to play around on a grand tapestry. And the further out I get, the bigger I can go. I want to take this book to a place where Marvel-Earth -- the Marvel Galaxy -- isn't even a speck in the sky. -- Al Ewing

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