We caught up with Vaughan at this year’s New York Comic Con to discuss his rapid ascent in the comic book and TV writing world, the state of the entertainment industry, and what lies in its not-so-distant future. Here, Vaughan explores the 1980s through the eyes of 12 paper delivery girls in the suburbs of Ohio, where they discover something from beyond the realm of imagination. All these boundary-pushing looks at the future have led up to a different, more nostalgic comic book, Paper Girls. As a girl, the one bridge between the races, is born in Hazel, Alana and Marko have to figure out how to keep their daughter safe from the many dangers of space travel-and killer robots, tarantula women, lying cats, and a sociopathic bounty hunter. He also takes us to galaxies far, far away with books like Saga, a space opera set in the midst of a war between two races. Only women remain after the gender-genocide, and have no interest in reverting things back to the way they were.īut culturally resonant science fiction is not all Vaughan can do. In Y: The Last Man, which FX just picked up for a television series adaptation shortly after our conversation, Vaughan explores our fear of feminism by placing Yorick Brown and his trusted monkey, Ampersand, as the last males on Earth after a mysterious plague eliminates all others of their kind. His books embody some of the most traditional science fiction ideas known to the genre with modern sociological twists and turns. From blockbuster hits like Y: The Last Man, the space opera Saga, and TV writing/producing credits on some of the best seasons of Lost and Under the Dome, Vaughan has become one of the preeminent comics authors by the ripe age of 39.

He has the reputation and awards (10 Eisner wins and 10 Eisner nominations) to hold the title, and he’s been compared to comics titans like Frank Miller and Alan Moore.

Vaughan is the golden boy of modern comic book writing.

The last man brian k vaughan