Kieron Gillen's Blog
July 13, 2016
With a solicit which basically read FIGHT! FIGHT! FIGHT! you may get a subtle feeling what this is about. Our pop video as action comic reaches its penultimate issues and the stakes are higher even than the heels. Well, mostly.
What am I writing?
July 6, 2016
The anthology continues, and Modded continues does Modded things. In this one, basically a Super Meat Boy analogue fights a Dark Soul analogue in a little formalist fighty thing. Also, Ignacio continues to my favourite monsters. Yay!
Just finished my first draft of issue 7 today, which I enjoyed far too much. I’m scratching all sorts of bizarre itches.
June 29, 2016
END OF GAMES continues its merry way on and… well, this one is Darth Vader versus a cybernetic Rancor. Do I really have to say more?
June 16, 2016
Due to yesterday being busy, didn’t get a chance to post about this. The fourth part of this arc of Mercury Heat, where things continue to be rather silly. To choose one random panel I saw someone reblog…
Available at your local shop or digitally.
June 10, 2016
As I start this, Nobody’s Empire by Belle & Sebastian comes on shuffle, and immediately unsettles me. Arguably Stuart Murdoch’s most autobiographical song, and it’s one that’s haunted much of WicDiv. “When I was in hell” and all that, and it runs through this issue.
Hmm. Let’s start with a random aside. When I was getting into comics as a creator, there was one thing Grant Morrison did which I hated. It was when he did an interview and said what the book was all about. Now, I didn’t hate it because of that – fair game, etc – but because of its effect on the discourse. 95% of the criticism – and Morrison was at the height of his sacred cow status post-All Star Superman – just recited it back.
So, when I started doing comics, I didn’t do that much, especially with the WFH stuff. I had my angles, and certainly wouldn’t fucking shut up (as evidenced by these writer notes) but I would try and leave people to figure it out themselves.
I soon realised what I suspect the secret reason why Grant does it. If you don’t tell people at least SOMETHING then most critics don’t seem to notice even the least subtle stuff. I mean, Matt and my first Uncanny Arc? A laceration at any creative working in superhero WFH as ethically bankrupt, especially ourselves. No-one noticed. The Fear Itself arc had a huge mutant hating mob marching to San Francisco (where the mutants lived) to destroy this home of abominations against nature and the most I can recall of something even that sledgehammer was someone on a forum going “Wait – is something else going on here?”
So I started saying a little more in interviews.
But certainly not everything.
(WFH has been useful to me, in terms of learning about various modes of obtuseness. I suspect I’m always going to lead slightly too opaque – and my mixture of opaque and hilariously unsubtle is always a strange one anyway – but it mitigated my instincts. I did things I thought would be obvious and realised that people are just going to miss 95% of the stuff. I mean, Generation Hope’s first arc featured someone basically turning into Tetsuo from Akira – it was a whole art/inspiration/derivative story, etc. I had the whole first page him going on about I AM BECOMING ART and all that jazz, and figured that was fine. No, it wasn’t. I don’t think anyone got it, and I had to leverage some stuff in later in the story to make what I thought was obvious clear. If I were to rewrite it, I’d have plastered an Akira poster in his room, at the very least.)
(Point being: I am fascinated by what is too much and what is too little, and trying to work how to make work of different sorts dance in different ways in front of different people. I am figuring it out, and will be figuring it out forever.)
WicDiv is us trying to do our most commercial work while cramming everything inside it. As such, I don’t assume much, and build the toolset we’re using in front of you, cycle by cycle. It’s a book which is trying to teach people how to read it – it’s where the Watchmen influence is strongest.
(And the Watchmen influence is particularly strong in this issue, on the quiet, and not so quiet)
Basically, what I’m saying it’s a book about death and art… but it’s not just about that, and by now I suspect the nagging “Wait – what IS this about?” may be coming to the fore.
In other notes, dunno how you felt about this issue, but it was nightmarish for me. It’s one of the issues I’ve known would be at this point, and is basically a big black hole.
Persphone’s in hell. I was too.
The Norns! My second favourite of this five, I think. Love the thread, the three-in-one as three levels, etc. Also showing that Cass is returning to the story…
I’ve loved Jenny Frisson’s stuff for years, and very happy for her to do one. There’s a real opulence and decadence to this, which is very suiting. And sadness.
And hello, Norns! Been a while.
I have been watching people’s concerns about how they got back from Japan, where we last saw them in issue 15. I suspect it’ll come up in conversation the next time the Norns and Amaterasu have a quiet moment together. That may be a whie.
There was some debate on how Laura should appear in Cass’ phone. We did think about it being an insult or just the fangirl, but the more methodical “Here is a name, and here is something to help me remember who she is” struck us as a more Cass approach. It at least shows how Cass thought of Laura when she put her number in her phone.
Cass’ response to the text – that it’s a prank – is very much her in her usual pragmatism. I’ve missed Cass.
Yes, the layout may be a bit familiar.
I did smile at the the readers analysing what’s happening in the garden in the tags.
I really wanted to have a interstitial here, but it would have made the issue too long. Instead, we go straight to Cassandra having her first god experience.
When doing a page like this, it’s definitely useful to have someone like Jamie on expressions. Great panels, great use of space.
And a remixed page, mashing two pages together form issue 11.
Matt was in an awful place with work, and Jamie had his own pressures on time here. Matt – in a series of other bad things – had Jury Duty when he was colouring this issue, so it was really tricky to do anything. He was also aware he hadn’t pushed the colouring for a little while, and wanted to do something radical. We ended up with this, which is obviously striking, but also is a quicker style than normal. People have been really complimentary about it, so it seems to have gone down well.
It’s not a straight page mash – Jamie added the broken, tendrils of the panels. This is Persephone performing this story to Cassandra, so is all warped by how she does things.
Clearly we’d have preferred this on a page turn, but there are far bigger fish to use the page turns on… plus, I had written something that bumped right against the page count.
Of all the incredibly detailed things that fans have talked about and had theories about, that I’d never seen anyone talk about “Wait – how did Inanna know what Baphomet was doing?” surprises me slightly.
I removed a FUCKING from the last panel. Baph using FUCKING in both the previous panel and that one seemed overplayed – and it was more effective in the “CLEARLY KNOWING I FUCKING WOULD”. The self-directed hatred than the hatred lashing out, etc.
The premature ejaculation joke makes me smile, and the little wry human smile of Baph is cute as well.
Yeah, I think these two would have got on surprisingly well.
Inanna’s divination last saw in issue 6, I believe. God, that seems a long time ago now. That said, issue 11 was too.
Actually one page of new stuff, and one page of the old issue reworked. It really is our signature move. Only change to old panel – bar colouring and re-worked panel borders, as everywhere else – was to merge the DON’T YOU WANT TO SING from the next panel in issue 11.
Inanna has had a costume change here. This issue was the one we were working on when Prince passed. With what was happening – especially the stuff in a few pages from now – that added to all the strangeness of our oddly prophetic book. We knew that the last thing we weanted to do was to present an image where someone who looks like Prince is being killed. As such, we move him away from the visual resemblance, so it can’t be used by someone in any way we wouldn’t like.
My favourite thing about this sequence is how Baph/Inanna’s response to the events of 11 mirror the readers’ response. HEY! LAURA IS A GOD! And then WHAT THE FUCK ANANKE!
Inanna hits the floor and gets knocked out.
Oddly, I’m just doing lettering tweaks for issue 21, and there’s a line Ananke says makes me think I may be being a bit meta about the card-trick plotting here.
We originally didn’t have the magic flash in the second panel, in our attempt to try and downplay the image as much as possible while still being in WicDIv’s aesthetic. We wouldn’t have lingered on Inanna’s death anyway – his reappearance before showing his real death is something which some people have thought cruel, and I wouldn’t necessarily disagree. As much as we could, I was trying to minimise it.
Though Ananke here? She really is a fucking monster. That expression in the last panel! Also, Baph’s in the third panel.
I’m shutting up a lot in these kind of moments of real violence and horror. You can compare and contrast with the music video sequnce fight scenes, if you wish.
Remixed image, half from 11, half new.
First panel we decided it didn’t need the kllk – mainly as it’s about Baph’s dodge rather than Ananke’s action. Subjectively speaking, it’s about that second part.
Directly from the issue. The other primal crime, fading into the fires.
I originally wrote that Jamie should use all the fires we used in the comic, and put them together. Part of that was meta – this is the core burning away which destroys Laura, and everything has been building to this – and the other part was that I had hit the page budget and thought that a “free” page may get around it.
Jamie said it’d be less work to just draw it. So he did. Thanks, Jamie.
I originally fucked up and got Jamie to do the wrong page on the left too, which meant he had to rework the fire. He should punch me. He really should.
Dropped page furniture on left on interstitial so it merged with the image on the right. After the fire, a black hole.
I did include this bit in my script…
“In passing – the halfway point of the issue in the half-way point in the arc in the half-way point of the series. You’re welcome. I will take all your Eisners now.”
Er… I tend to use THIS TIME WE’LL GET EISNERS as a running joke. I suspect I said it in the first Phonogram script. It will never happen, and if it ever did, it wouldn’t be because of that kind of thing.
It’s not quite true on the larger scale, but there’s something formally pleasig about this black hole being at the center of this arc. We’ve had HELL imagery running from the very start, and PERSEPHONE IN HELL kind of that coming together. I suspect PERSEPHONE IN HELL is one of the phrases that’ll haunt the book for a good while yet.
Yes, Baph is bringing her a Happy Meal. Irony. And Puns.
“I’m full of ash” was added to make things a little clearer, in terms of the last few pages, and why we linked everything together.
Dovetailing with what happened in the mean time. Storytelling which definitely leans towards the non-literal. Clearly she would have moved, but she wouldn’t have felt like it.
She gets her clothes from the same place Lucifer did when she was in prison.
(Oddly, this reminds me of the sequence with Billy towards the end of Children’s Crusade.)
Baphomet has to do the heavy narrative lifting. Yeah, the “HER OR ME” inversion is revealed here. I was looking for a place to give it more weight in the arc, but it was a relatively small detail comparatively.
Love the colour choices specifically in the panel where Baph is stomping around.
The sound effect TAP TAP is pretty amusing, in an awful way.
Performative masculinity, eh?
A story in a story storytelling here – it’s something we do go back to a bit. Another of the ANANKE ORIGIN STORIEs, which obviously builds on issue 16. Due to space, this is a half-page transition, which I’d normally avoid, but Matt’s choices manages to make it work…
My favourite thing Ananke does is basically her “Hmmphs.”
And the fourth time we’ve reworked these pages (fifth time we’ve done it – if we include Woden). Actually much more work than you’d think, or Jamie tells me now, after we’ve done this for the last time for a while. I need to buy Jamie a drink.
This page makes the whole team laugh pretty hard. Oh, Baph.
Another mid-page transition. As I said, there is a lot of fish frying.
Baphomet’s god issues is one of the floating mysteries, of course. I suspect that Baph isn’t the god he’s claimingto be is one idea which hadn’t come up. I hope in retrospect the breadcrumb trail is more visible.
The first draft of this page’s dialogue is some of the earliest notes I’d written for the series. It changed considerably, obviously – I originally had the joke as SPIDER-MAN/SPIDERMAN and “Why isn’t Spider-man in the avengers?” but with the recent news, I figured worth tweaking away to something that still works.
Some minor tweaks here based around in terms of how likeable we thought a statement made them. Baph was a little more – though only slightly – gatekeepy in his first line. Laura was slightly harder against why Baph cared, etc. I only mention as normally I suspect people think we push characters pretty hard into unlikeable places, and any example of us moderating it is interesting. I think they were the right calls.
So – Nergal? Well, you don’t really need to know. There’s certainly a bunch which could go – the musician, the Grim Adventures of Billy and Mandy character, the bit part demon in Hellblazer, etc. I suspect Baph would know most of them. The one most relevant is actually Nurgle, the Chaos god in all the Warhammer universes. Yes, the miniature painting was foreshadowing in multiple ways.
Clearly, Nergal is a god with an interesting cultural history. Well worth digging into it. Babylonian gods are fascinating.
Anyway – they kiss. Is this the first actual kiss in WicDiv? Bar the Sex Criminals pages? And the Orgy? We tend to actually cut away from the kissing and sex, and do beats around the bedroom. I mean, that’s what we do here – that it starts, and then we immediately cut away.
Er… if this arc is about violence, the next is about sex. Or at least, I mean the type of action is more about sex than violence. Mostly.
I just started work on it on Wednesday, actually, and felt the odd strangeness of writing pages which have the date 2015 on them.
As much as I love people digging into the “Baphomet is very bad at sex” running jokes, the “I felt alive for a few seconds” isn’t intended to be about the sex itself, but the reason why Persephone decided to initiate the kiss (and the sex).
Clearly I didn’t want to write a scene which implied “Hey! Persephone’s depression has been cured by Baphomet’s magical penis” so there’s a lot here to mitigate against it. I haven’t seen anyone have that particular problem with it, so maybe we pulled it off.
The next piece of WicDIv merch will be the official WicDiv Fuck pole, clearly.
I love Cass in this sequence. More Cass! More Cass! Plus the interaction between the two of them, is absolutely key.
(Also – perfect pause panel by Jamie at the end.)
AND THEN CASS FREAKS OUT!
Bless her. The Bread into toast line was me trying to find something that was even half as good as the Preacher beat where Starr says something akin to “Water into wine? He can barely turn water into urine.”
We can certainly debate who’s being the realist here.
“I did it half an hour ago.”
For a structurally-Watchmen-y issue, the nod is there… and I did play with making it much more explicit. I tried to make a line akin to “Baphomet said I should say “I did it half an hour ago” but I’m not sure why” but couln’t make it work, not least because it breaks the tone. This is not a wink-wink scene. This is a serious scene of drama.
Yes, this is the first time anyone has used a machine to perform their powers. We’re getting a lot of use of Owly this arc. He’s the breakout star of 2016.
Really lovely elegiacal vibe in that final panel.
Reference to PJ Harvey song, where Peej somehow convinced Thom Yorke to sing “all night and day, I dream of making love to you now baby” which is something Thom should do more of. I’m still waiting for his cover of Sisqu’s Thong song, clearly re-titled Thom Song.
Right – that’ll do. This was a gruelling one. The next one is more fun… well, at least in WicDiv’s idiom.
Thanks for reading.
June 8, 2016
We reach the middle of RISING ACTION and we finally get around to explaining how Laura’s still alive. It’s quieter, but I suspect there will be a strong response to this one. On a structuralist level, when I originally conceived this book as 40 issues, having this be issue 20 is very on point. This is the abyss in the middle of the book. Er… there’s a few jokes though. Plus Cassandra’s back, and she’s very much on form.
(It won’t be 40 issues now – we’ll almost certainly be longer)
END OF GAMES continues, with Darth Vader tracking down Cylo… while our friendly neighbourhood Murder Droids try to locate Aphra and apprehend her, in their own inimitable style.
This one was fun.
June 1, 2016
(Well, there’s a cover for each story, but this is mine.)
The second issue of the Alan Moore curated anthology is out. My contribution is Ignacio Calero and my Modded. Last issue was very much the core concept of the book. This is where we slowly start dialing up the weirdness. Hope you like it.
May 11, 2016
Start of a new arc in an over-sized issue. END OF GAMES is basically where everything goes climatic. This issue has a tight focus, and features some of my favourite scenes of drama in the entire run, so I hope you enjoy them as much as I did writing them. Plus, a back up story about BeeTee and 000 which explores their origins a little, with the usual helping of murder.
I originally planned issue 2 in the arc to basically do the filling in the gaps – explaining what has been going on up to here. When I broke it down tighter, it simply didn’t fit. I realised it’d be better to put it off for ANOTHER issue, where there was a plot-specific reason for it.
Instead, we dive on…
Dionysus, who makes his return this issue. The Dionysus colouring remains one of my favourite things in the book. Same three-level white-border structure.
Kris Anka’s cover
I suspect the most (er) popular cover in quite a while. I saw quite a few people tweeting about not being able to get a copy as their shop had sold out.
Honestly, Kris killed with this. I suspect that Baal’s standing in the WHICH GOD DO I WANT TO “DO” poll question may have something to do with his appearance here.
The Inanna tattoo was Kris’ idea, and beyond perfect. I believe I suggested the lightning on the champagne. Colouring was Kris’ own.
I mentioned we’d be returning to this scene last issue, so Jamie could re-use his background.
Minerva’s dad’s pullover is the most sinister fashion choice in the whole comic.
“Clever girl” seems to be a catchphrase for Ananke. She also said it to Cassandra way back in issue 9. She is very patronising.
Hardcore RPG references. I tweeted this for a reason I can’t really remember, and was in need of a chapter heading.
The colouring shift from the pop to the openly dingy is very much the point.
We haven’t seen much of Dionysus since issue 8 – bar an appearance in 15 – so him re-appearing in the plot is key. With a cast as big as ours, there’s obviously some pacing to get everyone in the same place.
But yes – this perhaps highlights what’s been going on with Dionysus. Yeah, I’m concerned too.
Honestly, South London Chicken shop is the ultimate case of Write What You Know. Now I’m hungry for fried chicken. This book is bad for me, in many ways.
In the original draft, I didn’t have the TV speaking, but when issue 1 came back, I felt the need to stress the situation of what happened there. As in, no deaths.
Three panel in the middle on a steady angle, showing full body. “Comedy lives in the middle shot,” to paraphrase Tracy Jordan.
The Underworld again. Our mission to continue to be the comic that wastes most black ink in the history of the medium continues.
Group shot! They’re the kids in the underground, etc.
We were looking to have a very casual take on the classic comic group hero shot. As in, here they are.
Still haven’t got used to Persephone’s abs.
Set up for the reveal in the end of the issue, of course.
Woden and Ananke scenes are always fun to write. Woden brings out the worst in Ananke. Hell, Woden brings the worst out in everyone.
This issue has a different purpose to the last one, but it’s still leaning on that short-scene structure. One page, one page, etc.
These lights really do make Amaterasu look pallid. Sun god, get some sun.
I’ve mentioned how I break down an issue? Google KIERON GILLEN MASTERPOST, and it includes a link. The basic one is that I write a hyper-rough synopsis, and put a number by it to show how many pages this takes.
This one basically read “Ananke talks Valhalla gods into going after Persephone and crew.” But the process of writing it is working out the arguments. What would Ananke say? Amaterasu gets the top level… and it’s worth noting that she’s not talked into actually fighting people. I write Baal, and the line is obvious – she uses Inanna as leverage.
(And great close up on Baal’s hand there, Jamie.)
And then I get to Sakhmet, and I realise Sakhmet doesn’t need convincing, and the scene twists another way. That was one of the moments when writing which made me smile most.
The extended fingers are a lovely gesture.
I said I’d add a line to the last panel if Ananke’s expression didn’t carry the beat. It’s Jamie. Of course the expression carried the beat.
Another steady angle shot to open the scene. Yet more physical comedy… though really for the dramatic beat.
Obviously lots of clues and referentiality here, but that can wait.
(In passing – I doubt I’d have written this without you knowning Baphomet this well. That is obviously a Baphomet line, so we don’t need to show him.)
Structurally, this is a mirror of the last one – there Ananke convinces the overworld gods. Here, Dionysus is recruited. In the same way as above, my synopsis was “Dionysus gets the situation explained to him – he is convinced.” When writing it, I had no idea how exactly that was.
Dionysus is one of the more tentative characters in the book. He clearly doesn’t like a lot of what much of the Pantheon lives off. So I wandered around the argument – do they believe Persephone? How is Morrigan and Baph’s relationship?
(And the two panels at the start of 10 are great by Jamie – the mirroring, the sense of drawing a line between them.)
Anyway, I hit Minerva who gives the download… and then I realise exactly what convinces Dionysus. Minerva doesn’t use facts. Minerva just says how she feels… and Dionysus instantly gets it…
…and then I remember Dionysus hasn’t met Minerva, which gives us the final beat.
Honestly, there are times when your characters just delight you. This arc has a string of moments which I’ve come to think of as a character’s finest hour, where you see them at their best. This one was Dionysus’.
Minerva’s expression on the “Mum and Dad” panel is heartbreaking. I’d go and fight gods for that too.
Also – we give the owl a name. It’s working title was Owly, and was thinking there would be something else that would occur… but in the end, we liked Owly.
(I also realised it could be taken as a plug for the excellent Owly comics, which cemented it in place.)
Primarily about the atmosphere, obv. Would it have been better to have the Owl eyes appear on the end of the last page? Probably, but there’s far more interesting things happening on that page, none of which could be sacrificed for a little fake tension.
I fully admit to grinning when writing BEE-BOOP!
And we kick off.
Purple suit is obviously loaded with Inanna being dead. Good colouring choice there by Matt. Once more, I wish I had the suit.
This arc is very much pop-video as fight scene, so we certainly lean into a little swagger.
Lightning crackle panel borders, obviously – this whole section is written in Marvel Method, perhaps unsurprisingly. Good call by Jamie.
Played with something a little more meta and leaning into our theme in the last panel (“TRACK TWO”) but we’re really not that kind of book, at least when things are as serious as this.
And here’s the team! Colour choices are interesting by Matt here.
This is a fight arc. It’s not just a fight arc as you’ll see, but the escalation and changing of stakes is key. This issue is a fight between two groups. I played with bringing the Valkyrie along too… but that escalates too quickly (and there’s an inworld reason why they’re not here too, of course.) What can be interesting?
Basically, it’s about pairing people up and showing personality. It’s a visual medium, etc.
Yeah, Morrigan is pissed.
Vivid and sickly colour choices here. Really exciting and unusually – oddly brings to mind some of the choices that Bettie Breitweiser makes. Which probably means “is good with pink.”
Another alternate-panel structure here, using the ravels to delineate space. After an issue which has been very formal grids, this obviously captures something of the chaos.
Also, by far the least comforting the Morrigan has been for a while.
I was thinking of those pop-plate things that send dancers bouncing into the air from beneath the stage with Baphomet here.
Anaterasu’s armour on the arm in the second panel is clearly this month’s cosplay challenge.
Sakhmet/Dionysus is a fun pair up. As a marvel method scene, I had a variety of dialogue here, but went in this direction…
(“I’m not a lover or a fighter. I’m a writer” is one of my standard crap one liners.)
Obviously shitloads happening here. I was suggested David Aja as an influence to Jamie, but looking at it some more, this looks like a pop take on Daredevil era Miller. Is that just me? The 16 panel grid structure always brings Miller to mind of course.
Sakhmet had a bad showing last issue, of course. Always worth stressing that no, she’s about as deadly as everyone thinks she is.
The multiple-image tricks in the penultimate panel works really well too.
Another page unit worth looking at – The triangle structure Jamie creates interacts with the laser-structure of Amaterasu’s motion here. The whole thing has a angular momentum to it – it’s particularly strong on panel 4, with her laser emerging from the thinned part to the widest part of the triangle seeming to add to her speed.
I like frozen time beats – panel 1 and panel 3 basically happen simultaneously. Amaterasu is fast.
I asked for the second panel to evoke Amaterasu’s glance in the first sequence I the gig. Her Eclipse eyes are one of my fave “things”.
If I said that the main influence for her laser movement in the third panel was Darkseid’s Omega Effect beams would you throw stuff at me?
Nice panel breaking by Jamie here on the second panel.
Yes, surprise attacks against people who aren’t expecting it is Baphomet’s go-to move. Three so far in this arc, by my count.
Sakhmet’s in the fourth panel is my favourite expression of hers in the whole issue.
I originally had Baal have a different moniker for Sakhmet here, but it was too complicated, irrelevant to the current situation and broke the mood. Instead, I went much simpler one – Blundercat – which is actually much funnier than it shold be in context.
(His original one liner will find a place eventually, I’m sure.)
My first draft for Badb’s dialogue in this issue really did leave a lot to be desired, and C interrogated my pretty heavily over it. Much happier with where it ended up. “Slake” is a good word.
Badb reforming works really well here, in an uncomfortable way.
“Hedwig” was on the list of alternate names for Owly, but that would have mean losing Baphomet’s line here about Hogwart’s tat.
Standard same-angle change-pose mode.
Gentle Annie! Long time, no see, etc.
Woden’s last line allows us to realise when this would have been recorded – or at least, is a very good hint towards it.
The first two panels lines were much more complicated, but we realised that a mid-word transition was much more powerful.
“Cute kid Foie Gras” is very Baphomet.
And, yes, we clearly should do skull-icon contacts for WicDiv merch.
Title a Socrates nod, obviously – “THE ONLY TRUE WISDOM IS KNOWING YOU KNOW NOTHING.” Glad to finally get my classical education into play. As in, repeatedly watching the first Bill and Ted for years.
Next: Cassandra’s back. And is she happy? Of course not. She’s Cassandra.
Thanks for reading.
May 4, 2016
New book time!
When Alan Moore asks you if you want to be part of an anthology, you say yes. In my case, you say “Yes” and contribute a story that is basically R-rated Pokemon in the style of The Fast and the Furious, in a Mad Max universe.
It’s also a device for me to talk about videogames, in the broadest sense. I hope it works for those who are complete obsessives of the form and those who know absolutely nothing. It starts iconic and light, and then builds to something which I’m still not exactly sure about. It’s its own world, that just happens to map onto a cultural history of the art form I spent the majority of my adult life writing about.
Primarily though? It’s funny. I hope you like it.
In passing – Ignacio Calero is a force of nature, and I think people are going to flip over him.
And Rising Action continues over in WicDIv, where I’m sure everyone just talks reasonably and talks it out. My proudest element is having a scene set in a south London fried chicken place, which is apex Write What You Know. Lots of fun stuff, I think. Hope you enjoy it.