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[personal profile] laughing_tree


I had my own crisis, I had my own what they probably call a ‘nervous breakdown.’ It was my wife’s birthday. I’m out with my family, I have three kids and a wife, and we are at a hamburger joint. Everything is going well, I’m about to start on Batman, I’m about to finish Vision, I’m on top of the world then all the sudden my chest is on fire. My wife and my kids take me outside, and say, “What’s wrong, Daddy?” I couldn’t write something more depressing. I got that tunnel vision, that blackout thing … I thought this was it, I was leaving this Earth. But my wife got me in the car, and we get to the emergency room. My father calls me, and we aren’t close so he never calls me, so that’s weird. He goes, “How are you doing?” I go, “Great, except for the emergency room and the death and all that shit.” And he says, “Your Grandma died.”

I was raised by my Grandma, and she died that day. I went up to the doctor and looked in his eyes, with my Grandma's death and my own insanity — I tell the doctor, “I think I’m having a panic attack, or I’m dying, so tell me if I’m dead or insane, and I hope I’m insane.” And he’s like, “Yeah, you’re crazy.” It was the most relieved I’ve ever been to be crazy. But what happened next is what [Heroes in Crisis] is about.


-- Tom King

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I’m lucky enough to be madly in love with my wife, and I have been for 17 years. So I think what comes out right now when I write is that, I want to talk about that, how that brings meaning to my life. -- Tom King

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[personal profile] laughing_tree


No one can out-Kirby Kirby. You can’t make an epic as great as he did. It’s like trying to make Star Wars again, or like trying to rewrite the Iliad. You can take those grand cosmic space opera themes and internalize them and use them to tell a very personal story. -- Tom King

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[personal profile] laughing_tree


Well, I was in wars, right? Like I was there. And looking back at it, I don’t remember the loudness of it. I remember the quiet moments. I remember seeing my wife at the airport, waving good-bye to her. I remember driving in a car with a friend. I don’t know, it’s just where my memory goes, is the quiet moments. So to me, that’s what turns out to define the war, more than the big bang of it. I just sort of remember the small echoes. -- Tom King

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[personal profile] laughing_tree


You tell me if you feel this way: the world we’re living in now doesn’t make sense to me. I say that not just from a left/right politic thing, but I wake up every day and I see things that I never thought I’d see. I see us close to nuclear war for no reason. I see the Cubs winning the World Series. I see five hurricanes hitting the US. I saw Houston, a city, was drowning. I saw Puerto Rico washed [away]…the world doesn’t make sense anymore. I wanted to write about that, not the politics and all, but that feeling— that paranoid feeling of being trapped in that [and] of wanting to escape. -- Tom King

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[personal profile] laughing_tree


MISTER MIRACLE is the story of a trapped man who can get out of any trap. It's about the weird that surrounds us now, that seems to push into every aspect of our being, that leaves us questioning the very foundations of our existence: how did I get into this and how the hell do I get out? -- Tom King

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[personal profile] laughing_tree


We were going to take the bigness of Kirby and turn that into the intimacy of Mister Miracle’s life. Kirby used a metaphor for his time, written in the late ‘60s early ‘70s when the world was going utterly insane. We’re going to use it as a metaphor for our time, the late 2010s, when once again the world is going insane. -- Tom King

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[personal profile] history79



"I wanted to write about the Trump era, but I didn’t want to write, “Fascism sucks” or “Trump sucks.” That doesn’t get you anywhere. You’re taking your Twitter feed and putting it in panels. What I wanted to do is capture the emotion of the period, and the anxiety, the way Alan Moore captured the anxiety of the ‘80s or Kirby captured the anxiety of the ‘70s or even Lee captured the optimism of the ‘60s; to capture the feeling, more than the politics. That’s what interests me. That’s how you make something that’s just not a polemic. After page four, the whole thing goes into a 9-panel grid, and it’s to give you a sense of that claustrophobia. To give you a sense of what it is to be trapped, not only in the themes and the words, but in the actual panel structure. He’s trapped behind those bars we had in Omega Men, and how does he break out?"

- Tom King


Warning for Suicide )
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[personal profile] cyberghostface
 So lately there's been some dispute as to whether or not Marvel's cancellation of the Fantastic Four and the subjugation of the X-Men line and related merchandise had to do with Perlmutter's vendetta against Fox.

Well according to Jonathan Hickman...

"I think it’s pretty common knowledge at this point that Marvel isn’t publishing Fantastic Four because of their disagreement with Fox. While it bums me out, I completely understand because, well, it isn’t like they’re not acting out of cause. Fox needs to do a better job there."

Well it's up to you to decide whether or not Marvel cancelling their longest-running comic as a 'fuck you' to Fox is 'acting out of cause'. As a bonus, here's the cast from the recent FF movie being blown up in a Marvel comic. Because Marvel isn't petty about this or anything.

Scans under the cut... )
laughing_tree: (Seaworth)
[personal profile] laughing_tree


I loved that run on Swamp Thing and what [Alan Moore] did with that character. And there was a beautiful Batman crossover that was all about the power of Swamp Thing next to the power of Batman. I wanted to have something in communication with that and sort of pay tribute to it. -- Tom King

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[personal profile] laughing_tree


'Continuity, I think a lot of people scoff at it. "Oh that's so stupid. Story is more important than continuity." To me, continuity is the heart of comic books. That's what makes it real. If you're not telling a story that stands on the shoulders of the giants before you, it's not real. You're just writing into the air.' -- Tom King

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[personal profile] laughing_tree


"She knows that Bruce Wayne is a mask. She knows being this playboy character is a façade. Batman is The Bat, and he knows that Selina Kyle is a mask — the Cat is who she is. And they’re not ashamed of that. They’re not the people that they were born to be. They’re the people that they chose to be. They’re the only two people that see each other as they truly are. That’s the core of their romance. Your soulmate is the person that sees everything that everyone judges you on and loves you still." -- Tom King

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[personal profile] laughing_tree


"It’s the first comic I’m writing where every issue is submitted to the publication review board of the CIA. There’s nothing in it that’s secret, and it’s a crime comic that takes place in Iraq at the time that I was there. It’s not about why I was there, doing counter-terrorism work. But it touches on issues that I saw and the world I saw doing that job." -- Tom King

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"I dealt with Iraq for a long time. It was a big piece of my life. I knew at some point I had to write about it. I tried a few times and it just made me feel uncomfortable. I knew I wasn’t getting it right.

"It’s a weird feeling and I don’t know if people can relate to it, but I get a sort of guilt when I write about Iraq. I’m sure you can hear it in my voice—I’m already apologizing. But I feel like I didn’t do enough. I should have done more. I left too early, the situation wasn’t resolved. And also, it’s weird but there’s almost a feeling of wish fulfillment—like I wish I was back there, I wish I was still in it—and pain that came with it. There’s a lot of emotion wrapped around it. So it took me a while to get to it. It was about ten years before I was comfortable with it."
-- Tom King

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[personal profile] laughing_tree


"A clever, twisting and blood-slick crime story in a place as hot and dry and lethal as any classic noir." -- Warren Ellis

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