Hmm … It’s interesting because The Old Guard isn’t political. Or if it is, it’s personally so. Look, the series is about these people. It’s not about the political ends. It’s not about war. It’s like anything I write - it’s about the characters. The heart of the conflict for the lead is that she’s very, very old and doesn’t know why she’s still living. She says this at the start and seen so many of the people that she knows and loves all die. Even those like her.
That’s the sick joke of it, really: They’re immortal up until the moment they’re not. And they never know when that moment is going to be. For Andy, she’s seen a lot of people come and a lot of people go. The question, then, is “Why not me?”
It’s less of a meditation on war and politics; really, if we want to unpack the deep stuff going on here, it’s about mortality. But I say that with the proviso that it’s John Wick meets Highlander. It has bullets and swords, but it’s meant to be a fun, pulpy adventure. It’s not meant to be a deeply profound tome focusing on the ethereal and ephemeral nature of being, you know?
As for politics, whether you want to be or not; whether you embrace it or not, comics are art and art is political. Look, it’s a form of entertainment, but even then, it needs to have some sort of redeeming social merit. It’s got to be saying something about something. I make no apologies for my politics, and I certainly don’t hide from them. But at the same time, I’m smart enough to know that no one wants to be lectured to. No one wants to read a polemic – just tell the story well. If in that entertainment, and the audience can find things to think about, great. But we want people to put the issue down and say “Great! What’s going to happen in Issue #2?”