Life is mostly just learning how to lose.
BRIAN K. VAUGHANI’m not afraid of the world. I’m afraid of a world without you.
More Brian K. Vaughan Quotes
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Every issue, the characters and I duke it out. They usually win.
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I’m the one who started spreading that particular factoid, about Bendis, Azz and me all being bald Brian’s from Cleveland, just to get my name mentioned in the same sentence as two much-better writers, and it’s worked like a goddamn charm.
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Victor: You guys have some kind of rallying cry? You know, “Avengers assemble?” “It’s clobberin’ time?” “Hulk smash?” Nico: “Try not to die.
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Immigration confuses and terrifies me, so why not try to write a comic and make some sense of it?
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I think there is a possible future where maybe we do just take a hard turn away from the Internet and we do start valuing our privacy again.
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I mean, do you know what you get when you call a suicide hotline in New York city? A busy signal. Literally.
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The longer I’ve been writing scripts, the more I find that you have to give the artist more leeway or else you’ll just be disappointed. You can’t force them to draw every image that’s in your head.
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I grew up in the suburbs of Cleveland in 1988 and there was just one year where suddenly all of the delivery kids that used to be boys were suddenly girls. It happened at our church too. Altar boys were suddenly altar girls.
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We’ve all seen lots of stories about a young protagonist having adventures, and usually they’re all boys, [and] there is sometimes a token female, or two.
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What cruel creatures men are. Our bodies tell us to love so many, but there’s room in our hearts for so few.
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A comic script is basically a love letter from you to your artist.
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To try and imagine that I’m another person is always going to be hard – whether I’m writing about a truck driver or someone who is gay, who’s trans, who is of a different ethnicity or creed. But it would be boring if I always had to write about myself and my limited viewpoint.
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Not a word of my writing has ever been changed by another person’s hands, and I don’t think many screenwriters can say that.
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After 9/11, I knew I wanted to write about power and identity and the way Americans on all sides of the political spectrum often mythologize our leaders, which are themes that the superhero genre has always handled really well.
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That was the appealing thing about comics: There literally is no budget in comics. You’re only limited by your imagination.
BRIAN K. VAUGHAN