Victor: You guys have some kind of rallying cry? You know, “Avengers assemble?” “It’s clobberin’ time?” “Hulk smash?” Nico: “Try not to die.
BRIAN K. VAUGHANMy mom once told me that a good relationship isn’t where the other person makes you feel better, but where they make *you* better.
More Brian K. Vaughan Quotes
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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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Immigration confuses and terrifies me, so why not try to write a comic and make some sense of it?
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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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I’m not afraid of the world. I’m afraid of a world without you.
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My mom once told me that a good relationship isn’t where the other person makes you feel better, but where they make *you* better.
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Life is mostly just learning how to lose.
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Next up, I’m going to grow a big, disgusting beard, just so people will start talking about Alan Moore and me in the same breath.
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If a good editor will let me tell my story with the right artist, I’m happy.
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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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Yeah, that’s right. Flee in terror, bitches!
BRIAN K. VAUGHAN -
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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I remember seeing Stand by Me, when I was around 12, and just feeling like, “This is so refreshing to see kids swear and smoke cigarettes like my friends.” It just felt much more real than the Sesame Street version of childhood that I’d been spoon-fed.
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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’m still digesting the ’90s. It takes some time to get perspective.
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I write the book for one person – for Fiona [Staples, the artist]. I spend a lot of time just thinking how she’ll react to things and manipulating her into drawing perverse, horrific things. It’s a really weird job but I enjoy it.
BRIAN K. VAUGHAN






