Writer Mike Kennedy on Aeon Flux the Comic

We had a chance to talk with Aeon Flux writer Mike Kennedy about his involvement on the project. We hope you enjoy this darkhorse.com exclusive interview with Mike Kennedy as he shares his insights into this instant classic sci-fi tale.

Dark Horse: Tell us a bit about the comics series, is it an official prequel to the feature film or a stand-alone story set after the animated series?

Mike Kennedy: It is a prequel to the movie, in that it takes place before the film, but it's a fairly self-contained adventure that only hints at the larger conspiracies that will unfold on the big screen. It is "official" in that it has gone through the approvals of both MTV and Paramount, who were diligent in making sure it works within the continuity of the film. But it can also be read as a sequel of sorts to the original animated series. I wish I could be more specific about how they all relate, but that's one of the most interesting revelations of the movie. Let's just say that as different as one incarnation might look from the other, they all fit together quite well . . .

DH: How much freedom were you given with the character and story? Is it hard to be creative with story and character restrictions or does that force you to become more creative?

MK: David Tischman and Dave Land at Dark Horse had already worked out a brief plot idea with MTV based on their inside knowledge of the film, so I had a pre-approved direction from the start. The details of how that plot would unfold were left open however, so there was some fun freedom there. Having been a huge fan of the character since her very first appearance on Liquid Television, I was able to come into her world with some familiarity and (hopefully) faithful ideas. I just wanted to ensure the same amount of over-the-top acrobatic action, bizarre pseudo-science and technology, and that same sense of not knowing who is up to what exactly. And I think all of those ideas are present in the series. Each issue script seemed to fly through the channels pretty unscathed, so it's clear MTV and Paramount are dedicated to those same core features. The continuity they've established for the franchise is pretty well thought out, but they have been open to several ideas, so long as they don't contradict anything going into the film.

DH: The concept of a “pure” society controlled by a sinister government is a theme often explored in science fiction visions of the future, as is the case with the Aeon film. Why do you think this concept resonates so strongly with writers and audiences?

MK: It's often a great stage for examining current social issues, and this film is no exception. Without going into detail, it explores the ramifications of unchecked industrialization and the ecological backlash that could follow. The pursuit of perfection and the self-destructive route such quests can take. What makes this particular future intriguing, to me at least, is that this government isn't necessarily sinister. It may take rather Machiavellian measures now and then, but the agenda it is protecting—the well-being and prosperity of its citizens—is incredibly noble and valid. Whether the ends justify their means however is the real question. The same can be asked of the Monican Rebellion Aeon serves: are they really any better than the government they strike out against, considering their tactics and objectives? That's what I believe so many people really liked about the cartoon (or at least what I personally loved about it): that gray moral uncertainty behind every character. Was Trevor the bad guy, or was Aeon? Should we be rooting for him or her? Usually an episode played out completely differently depending on how Peter Chung framed and established each character, as if the camera itself was powerful enough to bias and brainwash the audience into thinking whatever it wanted them to think. Honestly, the most interesting perspective to me is one in which neither party is good or bad, they're just doing what they feel is in their best interests, and it's up to the audience to see past the narrator's perspective and make up their own minds.

DH: Are there challenges writing for a female protagonist over a more typical male action hero?

MK: Nailing Aeon's gender wasn't really the biggest challenge, as much as getting her attitude and self-assurance correct. While I can't say it with any authority, I'm pretty sure Peter Chung created the character as a jab at the buxom male fantasies clogging comic books and sci-fi at the time. She was a satirical action fantasy designed to press every guy's buttons. So to that degree, writing her would have been very easy. What made her so much more than that however was the complexity that grew under her surface, the fact that she knew how she was perceived by a fairly predictable male population, and how she used that perception to her advantage. That's really the secret to writing any good action hero, male or female: confidence and self-awareness. James Bond had it in spades, and Aeon could still probably take him out.

DH: Genre fans can sometimes be strict taskmasters when it comes to their characters. Is it daunting taking on characters and stories with such rabid fan bases?

MK: Oh, GOD yes! But this isn't the first time I've had to face a judgmental crowd. That's just one of the risks that come with the job. Working within franchises like Star Wars, Superman, Aliens, etc. have each been challenging, making sure to tell a good story without rocking continuity or completely altering a beloved character's voice. While actually its own self-contained franchise, Lone Wolf 2100 faced an enormous rite of passage, daring to reference the most renowned manga title in history (Lone Wolf and Cub), but in the end, despite some initial skepticism from diehard fans, it earned a morsel of respect for itself and what it set out to do. And really, that's all a writer can hope for. The Aeon Flux comics series should benefit from being a hybrid of the original series and the upcoming film, balancing the best of both in a way that people will enjoy. Timothy Green's artwork is AMAZING, and should rightfully sell the book on its own, but hopefully those who go for the story will be satisfied as well. Right now, I think the filmmakers face a more daunting reaction from the fan base, but hopefully the audience will be open to what they've put together. I haven't seen any more than what most people have seen on the internet, but I've got pretty high hopes based on the genuinely interesting and faithful script. I just hope it does well enough to warrant more stories down the road, because Aeon is a great character in a deep world with so many corners yet to explore.