Because there's a certain strand of nonsense that seems increasingly out of place over on the old Workblog.

12th April 2014

Question with 5 notes

harnessurhopes asked: Have you watched 300: Rise of an Empire yet?

I haven’t. I don’t really get the cinema a lot.

(Actually, I’ve been to the cinema more this year than years. GRAND BUDAPEST HOTEL, CAP AMERICA, GRAVITY, etc. And I was clearly very late with GRAVITY.)

12th April 2014

Question with 7 notes

salkafar asked: Are there any plans at all for Tony - being a tech guy whose currently working with almost-alive cities - to meet the Manchester Gods?

No current plans, alas. I’d agree they’d have things to talk about.

12th April 2014

Question with 5 notes

brendanhykes asked: I've been following your Wicked & Diving playlist on spotify and I was just wondering if you'd listened to any How to Destroy Angels? Seems like it might fit.

Never actually listened to them. Thanks for the rec. Listening now.

12th April 2014

Question with 21 notes

alienswillkill asked: Hey Kieron, I was wondering if you could quickly brief over your journey of how you got into Marvel and started making books for them

I’m going to be doing a length podcast interview on this very topic quite shortly, actually. It’s also something I’ve talked about in quite a few interviews, so it’s google-able if you want more.

In short: small press self-published comics lead to doing PHONOGRAM at Image, and getting lots of attention. Warren Ellis picks writers for spin-offs to his NEW UNIVERSAL, and picks me for one. That issue shows I can write Superhero comics (which as much as people like PG, that doesn’t exactly show) and several editors ask me to do more stuff. I do it, they like it, they give me bigger jobs. Repeat last step until I’m writing Uncanny X-men.

In short, I did work people responded to, people liked it and it lead to breaks.

12th April 2014

Question with 47 notes

ubsnetworks asked: I'll give you $10 crisp American currency to do Alpha Flight after all.

You’ve doubled my Marvel rate.

12th April 2014

Question with 21 notes

deathchrist2000 asked: What are some good public domain love songs?

I like the way you think, Lloyd.

12th April 2014

Question with 2 notes

deadmanshand asked: What are your thoughts on Future Islands suddenly blowing up everywhere?

Not many, really. Not an enormous fan, but good for them.

12th April 2014

Question with 99 notes

steveneverypony asked: Hi! I was wondering if you would be willing to give me some recommendations for any good British/European comics that most wouldn't see in the states. I'm asking because I'm looking to expand my horizons in terms of the stuff that is out there as well as build my collection heh.

Heh. This has been sitting in my box for a while, and I’m going to take a quick shot. This will be off the top of my head, so apologies. And I’m going to limit to comics that were published primarily and originally in the UK. So - say - we’d get a British creator’s work for 2000AD but not their work for a US publisher. 

(It’s one of the jokes that go around is that RUE BRITANNIA, arguably the most British comic published in the last ten years couldn’t get nominated for the British comic awards. But still - that’s the way I’ll be framing these)

Also worth noting my European Comics knowledge isn’t the best in the entire world. I’ll be talking about stuff I just dig.

2000AD STUFF
The archetypal modern Brit-comic anthology. Around since the late 70s, and has all manner of great stuff by people you probably get in US comics. Random faves off the top of my head…

Any NEMESIS THE WARLOCK (Inc TORQUEMADA THE GOD) - any time anyone asks me what artist I want on a project, I always say “Kevin O’Neill. From the early 80s.” This is why. NEMESIS is what I gave to Fraction, by way to explain why Brit creators tend to be wired the way they are. This is what kids comics were in the UK.
ABC WARRIORS: THE BLACK HOLE - approximately 60% of how I write team books is entirely lifted from this.
HEWLIGAN’S HAIRCUT
ZOMBO
BAD COMPANY - And the other 40% from this.
ZENITH
CRADLEGRAVE
THE BALLAD OF HALO JONES
BUTTON MAN
MAZEWORLD
LEVIATHAN
SHAKO - which I tributed lovingly in the first issue of ORIGIN II
SLAINE: THE HORNED GOD

And a lot more, obv. I haven’t even mentioned any DREDD, y’know?

Assorted other anthology-based stories I dig…

CHARLEY’S WAR  - if you like Ennis, this is basically the Rosetta Stone. It’s the single biggest influence on my UBER as well.
HOOKJAW: Basically Shako, but even less ethical. Astounding.
JOHNNY NEMO

Let’s move off that, as it’s easy to get hung up on the Brit anthology stuff, as it’s the pulp pop end, and that’s arguably similar to the US end of things. The sort of pick-up of 2000AD by the current wave of critics seems to remind me of the 90s love of Hong Kong action cinema, if you see what I mean.

I mean, if you’re looking for another tradition - the actual mainstream cultural thing - go look at WHEN THE WIND BLOWS and GEMMA BOVERY.

If you want to look at the British 80s indie underground, start with Eddie Campbell’s ALEC books, which have been collected in the enormous and essential ALEC: THE YEARS HAVE PANTS. Go onto stuff like ABE: WRONG FOR ALL THE RIGHT REASONS.

Oh - HUGO TATE, which is also just been put in a nice collection.

Paul Grist? You know Paul Grist? He’s published via IMAGE recently, but his background is here. KANE is fantastic, but JACK STAFF is wonderful too. Also his collaboration with Grant Morrison SAINT SWITHEN’S DAY is one of my favourite single issue things ever.

(And is probably going to be pastiched in THE WICKED + THE DIVINE at some point.)

Oh - LUTHER ARKWRIGHT is another founding text of what you’ll think of the 80s British invasion. I’ve ripped off the first volume several times.

And TANK GIRL, obv.

Modern stuff?

THE NAO OF BROWN - Ludicrously good looking.
THE PHOENIX - one of the best kids comics in the world, sez I.
SELF-MADE HERO are publishing really interesting work, and is worth browsing their entire catalogue. I’m always interested to see the adaption work they publish, and their THE MAN WHO LAUGHS by Hine/Stafford is a real tour de force.
NO BROW are also doing great and beautiful stuff. You can start anywhere, but the Luke Pearson stuff would be my suggestion.

Worth noting that while they’re both British publishers, not all their work is British.

Quick fire stuff!

SOLIPSISTIC POP
SOPPY
CHOLE NOONAN
BLOOD BLOKES
Anything by LIZZ LUNNEY 
AFTERLIFE INC
THE LENGTHS

Oh - and they’re bringing back STRANGEHAVEN which makes it a great time to catch up with its slow-slow-slow Prisoner in the North of England vibe. First comic I ever bought at a British Comic con, for the record.

Late addition! If you want a single volume overview of a lot of British talent from a lot of generations, NELSON is a great project. Basically an exquisite corpse story, passing between creators, telling the story of one woman’s life.

Okay - that’s longer than I wanted it to be, and not as long as I’d like. Sorry for all my faves I’ve missed, but this will get you going.

And as it’s so long, I’m going to boil all of Europe down to THE METABARONS and go and have more tea.

(Not that the Metabarons is actually created by French people, of course. TANKING-U PENDANTS.)

12th April 2014

Question with 4 notes

sunkenyachtclub asked: So what are your favorite 5 albums right now?

Oh god. I’m crap at these questions. I’m mainly listening to playlists at the moment.

12th April 2014

Question with 46 notes

glassgears asked: How was the Marvel retreat?

It was good, actually. Lots of stuff got done and exciting stuff ahead. Always nice to see a bunch of people I don’t see often enough, being the only Brit in the place.

Always an odd time for me though. I often think if the Summit was Community, I’d be Abed, perpetually confused at what’s actually going on and only capable of expressing myself in references. Except to 90s 7” B-sides no-one else has listened to.