[personal profile] history79



"Comics have always had a pretty rich tradition of telling meaningful stories with anthropomorphized animals. I thought experimenting with that genre in a standalone graphic novel would be a good way to push myself, get away from my usual dumb pop-culture references and shocking cliffhangers. At the same time, I was also hungry to write something that addressed my conflicted feelings about the Iraq War. When I read reports about this pride of escaped lions, everything just kind of fell into place."

- Brian K. Vaughan


Warning for Rape


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[personal profile] laughing_tree


Sooner or later, we’re all going to die, and there’s no coming back. Fiction used to exist to help prepare us for this inescapable tragedy, but over the years, as characters in popular fiction became “intellectual property” owned and controlled by corporations, these creations became too valuable to ever “die,” and I think the whole idea of death in stories became cheapened. But because Fiona and I own and control Saga completely, we can be cruel and vengeful gods, like authors used to be. -- Brian K. Vaughan

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[personal profile] laughing_tree


There are certainly characters I miss, but their deaths were all important to Hazel’s journey. -- Brian K. Vaughan

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[personal profile] laughing_tree


I’m endlessly fascinated by Saudi Arabia and the United States relationship with this monarchy and in how in some ways they are staunchest allies and they are also our enemies. It was just incredibly complex and I like sort of taking that idea of kings and princes, which are always popping up in fantasy stories, but perhaps treating it with the complexity of a real monarchy and real-world complications. -- Brian K. Vaughan

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[personal profile] laughing_tree


No corporate-mandated resurrections in our universe. Sometimes, you lose people you care about, and we tried to translate that pain into a few comic-book page turns. -- Brian K. Vaughan

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[personal profile] laughing_tree


I’m never a huge fan of "escapist fiction." I don’t even really know what that means. I like fiction that is immersive, that you feel like you are completely inside of it. I like my life—I’m not looking to escape it. I guess I’m always looking for stories that make me a better person or help me to understand the world a little bit better. So even when I’m doing something set in a crazy, far out universe, I want it to look and feel in some ways recognizable to our own lives. I think it’s trying to be truthful and writing about the people in my life, instead of writing about archetypes or other’s people’s characters. -- Brian K. Vaughan

Trigger Warning: Child abuse

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[personal profile] laughing_tree


When Pia Guerra and I started Y: The Last Man that was our impulse: Let’s make a comic book for people who don’t yet know that they love comics. I think for a lot of people it’s kind of an intimidating art form to get into. Even if you’ve been reading comics your whole life, you take it for granted sometimes. It’s hard to just open up this page of panels—you don’t know how to read it. With Y: The Last Man we were like, let’s think about it so that if you’ve only ever read Calvin and Hobbes in your daily paper growing up, you will be able to read this comic. And I think with Saga we tried to hone that even more. -- Brian K. Vaughan

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[personal profile] laughing_tree


Romeo and Juliet are also idiotic teenagers who do something incredibly stupid and kill themselves at the end of the story. I thought it would be interesting to start with two people who are adults and not idiotic teenagers. Instead of killing themselves, they have lots of hot sex. But then the result of that sex is a baby. -- Brian K. Vaughan

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[personal profile] laughing_tree


I think I was frustrated working in film and television and sort of bumping up against the “here’s what I can’t do” in television, because maybe it’s too expensive to do this kind of spectacle or “here’s what I can’t do in film” where it’s tough to do R-rated, complex ideas for grown-ups. I was just like, I’m going to take all of my frustrations about what I can’t do in these other two forms of media and just pour it into comics and that hopefully readers will appreciate that. -- Brian K. Vaughan

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[personal profile] laughing_tree


I almost always know exactly when a character is going to die. Sometimes it’s for a very important narrative reason, and sometimes it’s just because life is short and unfair, especially during wartime. I don’t think I’ve ever unexpectedly killed someone off, but there was once or twice that someone earned an unplanned reprieve, usually because Fiona’s art made me see that character in a completely new way. -- Brian K. Vaughan

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[personal profile] laughing_tree


People are always like 'George R.R. Martin or Joss Whedon – these guys are monsters.' But it used to be when people would read fiction, characters would die all the time. I think we’ve grown up in a sort of culture where a lot of our storytelling is controlled by a big corporation – that means we can’t let these characters die, we have to keep them alive. And that’s just a terrible way for fiction to approach things. We read this stuff to prepare us for the worst things that are going to happen to us, and death is the worst. -- Brian K. Vaughan

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[personal profile] mastermahan


Last time, Parker Robbins tried to bust his cousin John out of police detention (magically electrocuting some FBI agents in the process), but John refused to go, and instead asked Parker to pawn their stolen diamond to hire a good lawyer.Read more... )
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[personal profile] mastermahan


Last issue, The Hood escaped with 1.5 million of stolen blood diamonds, but not until he accidentally shot a cop and his cousin John was arrested.Read more... )

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